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23  WEi  T  MAIN  STREET 

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illustrent  la  m6thode. 


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TO! 


Choi 


N« 


. 


THE 


TONIC  SOL-FA  MUSIC  READER: 


A.  COURSE  OF  INSTRUCTION  AND  PRACTICE  IN  THE 


TONIC  SOL-FA  METHOD  OF  TEACHING  SINGING, 


WITH  A 


Choice  Collection  of  Music  Suitable  for  Day  Schools 


AND  Singing  Schools. 


By  THEODORE  F.  SEWARD,  assisted  by  B.  C.  UNSELD. 

•  APPROVED    BY    JOHN    CURWEN. 


BiGLOW  &  Main,  Publishers, 

No.  76  East  Ninth  Street,  New  York,  and  81  Randolph  Street.  CniCAGa 

FOR  SALE  BY  BOOKSELLERS  AND  MUSIC  DEALERS  GENERALLY. 


1 


onris 


o 


Coi'YRIGHT,  1880,  BY  BlOLOW  &  MaIM 


PREFACE. 


The  Tonic  Sol-fa  System  is  presented  by  the  authors  of  this  book  to  the  American  public,  in  the 
firm  belief  that  tlie  introduction  of  the  system  will  mark  a  new  era  in  the  musical  history  of  this  coiintry. 
The  ToMc  Sol-Fa  System  presents  two  widely  different  characteristics,  either  one  of  which  ouglit  to  com- 
mend it  to  all  who  are  interested  in  music.  Together  they  constitute  an  absolute  demand  for  recognition. 
These  characteristics  are ; 

Firs  I. — //  removes  three-foitrths  of  the  difficulties  of  music  from  the  path  of  the  beginner  ;  atid, 

Second. —  //  leads  to  far  greater  intelligence  and  appreciation  in  the  advanced  stages  of  study  and  practice. 

A  scholarly  American  musician  has  recently  written  concerning  Tonic  Sol-fa  : — "It  is  not  only  a 
method  of  making  mubic  easy,  but  for  making  it  more  truly  and  profoundly  understood." 

The  Tonic  Soi,-fa  System  is  often  called,  by  those  who  use  it,  "the  natural  method."  The  steps  of 
progression  are  so  easy  and  natural  that  both  teacliers  and  pupils  find  a  pleasure  in  the  study  that  they 
never  realized  before.  It  is  so  simple  as  to  bring  about  a  new  departure  in  the  teaching  of  music,  in  the 
following  respect — Those  who  knoK'  a  little  about  music  can  teach  that  little  without  being  compelled  to  master  the  whole 
science  beforehand,  as  is  necessary  with  the  staff  notation,  in  this  way  a  new  class  of  teachers  is  developed 
wherever  the  Tonic  Sol-fa  System  is  introduced,  viz:  persons  of  education  and  culture  who  love  music, 
but  who  have  heretofore  been  deterred  by  its  technical  difficulties  from  devoting  themselves  to  it.  It  has 
been  a  cc  mmon  experience  in  England  for  such  persons  to  begin  teaching  the  first  steps  by  the  Sol-fa 
method,  and,  becoming  interested,  they  have  gone  on  studying  and  teaching  till  they  were  led  to  devote 
themselves  exclusively  to  music  and  became  among  its  most  intelligent  exponents  and  successful  workers. 

Try  the  system  fairly.  Do  not  omit  the  best  points  and  fancy  you  know  all  about  Sol-fa.  The 
various  devices  and  expedients  presented  in  the  system  are  not  matters  of  theory,  but  the  outgrowth  ol 
years  of  actual  trial  and  experience  by  many  of  the  best  teachers  of  Great  Britain. 

This  book  is  prepared  for  elementary  classes  of  all  grades.  It  embraces  the  first  four  "  steps  "  of  the 
system,  and  is  intended  for  Singing  Schools  and  the  various  grades  of  Day  Schools.  Even  the  primary  de- 
partments can  be  carried  through  the  first  steps  by  the  aid  of  the  modulator,  handsigns  and  blackboard. 

It  is  important  to  state  that  the  "Tonic  Sol-fa  Music  Reader,"  is  published  with  the  full  sympathy 
and  approval  of  Mr.  Curwen,  the  founder  of  the  system.  The  first  steps  were  submitted  to  him  for 
examination  and  were  returned  approved,  with  but  few  and  unimportant  changes.  Since  the  recent  death 
of  Mr.  Curwen,  his  son,  Mr.  J.  Spencer  Curwen,  who  takes  his  place  in  directing  the  movement  in  Eng- 
land, has  examined  and  approved  the  MS. 

THEO.  F.  SEWARD, 
Orange,  N.  J.  B.  C.  UNSELD. 


IT  has 
countr 
in  Eng 
methods  c 
awaken  a 
to  lead  th 
compositic 
this  count 

During 
movement 
side  of  thi 
This  coun 
ments."  ] 
number  ha 

But  at 
tained  clei 
been  want 
nizcd  and 
people,  ev 
based  upc 
•donee  in  I 
an  opport 
witness  its 

Seeing 
cational  p 
ftimself  to 
Ais  return, 
wnt  grides 
idvorable  1 

One  of 
biings  so  1 
is  that  it  h 
avoiding  1 
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accu;Uome 

Tlie  fol 

1.  The  so 

staff, 

2.  To  loci 

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twen 

3.  The  re 

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in  th 
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INTRODUCTION. 


ic,  in  the  I 
caiintry. 
to  com- 1 
Dgnition. 


:tice. 

it  only  a 

steps  of 
that  they 

ic,  in  the 
''  the  whole 
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ve  music, 
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le  Soi.-FA 
to  devote 
workers. 

-FA.  The 
2^rowth  ol 

-js  "  of  the 
imary  de- 
board. 

sympathy 
5  him  for 
:ent  death 
it  in  Eng- 

EWARD, 
LD. 


IT  has  been  known  for  some  years  by  musicians  in  tliis 
country  that  an  important  musical  movement  was  in  progress 
in  England.  A  new  notation  had  been  invented,  and  new 
methods  of  teaching  were  cpming  into  use  which  seemed  to 
awaken  a  widespread  musical  interest  among  the  masses,  and 
to  lead  them  rapidly  to  the  practice  of  a  much  higher  order  ol 
compositions  than  those  studied  by  die  corresponding  class  in 
this  country. 

During  what  may  be  called  the  experimental  stage  of  the 
movement,  it  is  not  strange  that  the  attention  attracted  on  this 
side  of  the  water  amounted  to  little  more  than  idle  curiosity. 
This  country  had  already  been  the  subject  of  repeated  "  experi- 
ments." New  notations  and  "easy  methods"  almost  without 
number  had  arisen,  won  a  few  converts,  and  passed  into  oblivion. 

But  at  last  it  became  evident  that  tlie  English  system  con- 
tained elements  of  vitality  and  usefulness  which  the  others  had 
bucn  wanting  in.  Prominent  musicians  in  that  country  recog- 
nized and  acknowledj^^ud  its  educational  value,  and  thoughtful 
people,  even  in  America  were  convinced  that  the  system  was 
based  upon  true  philosophical  principles.  A  two-years  resi- 
dence in  England  and  Scotland  gave  the  author  of  this  work 
an  oppurtunity  to  thoroughly  investigate  the  method  and  to 
witness  its  practical  results. 

Seeing  is  believing.  The  superiority  of  the  system  for  edu- 
cational purposes  was  so  evident  that  he  resolved  to  devote 
ftimself  to  the  special  work  of  introducing  it  in  tiiis  country  on 
dis  return.  A  practical  use  of  the  s3-stinn  with  classes  of  dift'er- 
»(nt  grades  and  ages  since  his  return  has  fully  confirmed  the 
kdvorable  impression  already  received. 

One  of  the  principal  reasons  why  the  Tonic  Sol-fa  system 
biings  so  much  quicker  and  better  results  than  the  old  method, 
is  that  it  holds  the  learner  constantly  to  \}i\c  practice  of  music  by 
avoiding  the  technical  difliculties  of  tlie  staff  notation  until 
the  mind  is  thoroughly  trained  to  musical  effects.  How  great 
these  difficulties  are  it  is  hard  for  us  to  realize  who  have  been 
accustomed  lo  them  from  our  earliest  years. 

The  following  are  some  of  the  more  prominent  of  them : 

1.  The  scale  is  represented  in  seven  different  positions  on  the 

staff,  or,  including  both  clefs,  fourteen. 

2.  To  locate  the  scale  upon  the  staff,  thirteen  signatures  must 

be  learned  and  remembered,  or,  including  both  clefs, 
twenty-six. 

3.  The  representation  of  chromatic  tones  is  exceedingly  com- 

plicated. The  same  tone  requires  for  its  representation 
in  the  various  keys,  five  diflferent  characters,  viz. :  a$,  a!j, 
aH,  aX,  or  ate. 


Each  degree  of  the  staff  is  so  modified  in  the  use  of  the 
various  keys  as  to  have  more  than  thirty  different  mean- 
ings. 

4.  When  a  chromatic  tone  is  introduced  there  is  nothing  to  tell 

the  reader  whether  it  leads  to  a  change  of  key  or  is  merely 
"accidental." 

5.  The  intervals  of  the  scale  (steps  and  half-steps)  are  in  no 

way  indicated  or  suggested  by  the  staff. 

6.  The  minor  scale  is  not  individualized  by  the  staff  notation, 

and  remains  to  the  average  music  reader  an  unsolved 
mystery. 

7.  Notes  have  no  fixed  value  as  to  time.     A  quarter  note  in  one 

movement  may  be  twice  as  long  as  a  half  note  in  another, 
and  vice  versa. 

8.  The  technical  difficulties  of  the  notation  so  cover  up  and 

mystify  the  simple  realities  of  music  that  the  study  of  har- 
mony, which  ought  to  come  naturally  in  the  eaily  stages 
of  any  thorough  course  of  instruction,  is  left  as  an  abstruse 
science  to  be  taken  up  as  a  special  study  t)3'-a  favored  few, 
after  every  other  department  has  been  mastered. 

In  view  of  such  an  array  of  difficulties,  is  it  any  v.-onder  th.it 
there  are  so  few  readers  of  music?  The  truth  is  that  tlie  staff 
notation  is  (except  to  the  especially  gifted)  rcMy  a  barrier  delwecn 
the  learner  and  music,  and  the  only  question  is  whether  or  not  it 
will  be  overcome.     In  nine  cases  out  often  //  is  not. 

In  contrast  with  the  complications  of  the  staff  notation,  f>I'- 
••erve  carefully  the  following  characteristics  of  the  Tonic  Sol-la 
system : 

1.  It  has  but  one  representation  of  the  scale  instead  of  fourteen, 

as  in  the  staff  notation. 

2.  There  are  but  two  representations  of  each  chromatic  tone  in- 

stead of  five,  as  in  the  staff  notation. 

3.  "Accidental"  orpassingchromatic  tones  are  not  confounded 

with  those  which  lead  to  a  change  of  key. 

4.  Changes  of  key,  however  remote,  are  clearly  indicated  by 

this  notation.  In  the  words  of  an  acute  musical  critic, 
(Dr.  W.  S.  B.  M.VTHEWS  of  Chicago,)  "the  Tonic  Sol-fa 
notation  shows  the  musical  reader  exactly  what  he  needs 
to  know." 

5.  There  is  no  puzzling  out  of  notes  on  added  lines  and  spaces, 

which  is  always  so  confusing  to  the  beginner,  (and  usually 
a  long  time  after  beginning  ) 

6.  The  representation  of  time  is  simple  and  uniform. 

7.  By  this  notation  the  minor  scale  is  easily  sung  and  under- 

stood. 


IV 

8. 


INTRODUCTION. 


By  the  Tonic  Sol-fa  notation  and  the  method  of  teaching 
which  properly  accompanies  it,  the  principles  of  harmony 
are  received  almost  unconsciously,  and  can  be  compre- 
hended from  the  beginning. 
9.  It  is  the  quickest  and  most  thorough  means  of  acquiring  the 
use  of  the  staff  notation. 

The  highest  aim  of  those  who  teach  the  staff"  notation  in  pop- 
ular  classes  is  to  enable  the  learner  to  read  music,  and  the  diffi- 
culties are  so  great  that  a  very  small  per  ccntage  of  those  who 
begin  the  study  ever  really  acquire  the  ability  to  sing  indt.  -^n- 
dently  at  sight. 

The  Tonic  Sol-fa  system,  on  the  contrary,  developes  the 
general  musical  intelligence  of  the  pupil— his  perceptions,  his 
listening  faculty,  his  memory.  It  enables  him  to  think  music, 
to  7;'rite  music ;  the  ability  to  read  it  comes  incidentally  as  a 
matter  of  course.  ^ 

Another  advantage  of  this  method  is  that  it  is  really  a  system, 
from  beginning  to  end.  The  pupil's  way  is  marked  out  by  a 
scries  of  "steps,"  and  a  great  incentive  to  industry  and  practice 
is  afforded  by  the  giving  of  certiftcatcs  to  those  who  prepare  to 
pass  the  various  examinations.  These  certificates  are  issued  by 
the  Tonic  Sol-fa  College  of  London,  and  are  five  in  number  — 
the  Junior,  Elementary,  Intermediate,  Member's  and  Advanced. 
A  tc.'icher  who  has  taken  the  Intermediate  certificate  is  entitled 
to  give  the  Junior  and  Elementary,  after  a  proper  examination 
(if  th:j  pupil.  (For  requirements,  see  page  V.)  One  who  has 
tiie  .Member's  certificate  is  catitled  to  give  the  three  lower  ones. 
Neat  and  tastefully  printed  certificates  are  supplied  by  the  Lon- 
don College  at  a  nominal  price,  which  can  be  filled  in  by  the 
teacher  as  needed. 

While  the  Tonic  Sol-fa  system  has  arrived  at  its  present  stage 
of  perfection  through  the  experience  of  many  teachers,  yet  it 
has  liecn  chiefly  moulded  into  shape  by  the  wisdom,  firmness 
and  orf:anizing  qualities  of  one  man — the  Rev.  John  Cukwkn, 
whose  life  of  singular  usefulness  has  ended  within  a  few  weeks. 
The  educational  part  of  this  book — the  method  proper— is 
drawn  from  Mr.  Curwen's  various  published  works,  but  mainly 
from  "The  Standard  Course."  The  authors  claim  no  original- 
ity for  this  book  except  in  the  manner  of  presentation.  It  has 
been  prepared  with  great  care,  taking  in  every  valuable  point  of 
the  system,  but  rearranging  and  condensing  for  the  special 
adaptation  of  the  method  to  the  musical  needs  of  this  country. 
The  "  Standard  Course,"  which  is  Mr.  Curwen's  most  complete 
setting  forth  of  the  system,  includes  full  instructions  in  vocal 
training,  harmony,  musical  form,  etc.,  etc.  The  "Tonic  Sol-fa- 
Music  Reader"  presents  only  the  broad  facts  of  time  and  tune, 
for  the  use  of  elementary  classes. 

A  new  and  very  interesting  amplication  of  Sol-fa  principles  is 
now  being  made  by  Mr.  Daniel  Batcheu.or,  of  Boston,  in  the 
Kindergarten  work.  Mr.  Batchellor  was  a  well  known  Sol-fa 
teacher  in  England,  having  taken  the  Advanced  certificate  at 


the  Tonic  Sol-fa  College  of  London.  After  his  arrival  in  Boston 
several  years  ago,  he  devoted  considerable  time  to  the  Kinder, 
garten  work,  and  developed  a  very  ingenious  method  of  teaching 
tones  by  colors.  His  method  has  attracted  much  attention 
among  prominent  advocates  of  the  Kinderjarten  system,  as  it 
adds  a  new  educatirnal  element  to  that  work.  Mr.  Batchelloi; 
is  an  official  representative  of  the  Tonic  Sol-fa  College  in  this 
country.  He  has  taken  a  deep  interest  in  the  preparation  of 
this  book,  and  its  authors  are  indebted  to  him  for  many  valua- 
ble suggestions. 

The  Modulator,  (see  page  VIII.)  As  the  Sun  is  the  centr( 
of  the  Solar  system  so  the  Modulator  is  the  centre  of  the  Sol-fa 
system.  The  Modulator  in  the  Tonic  Sol-fa  notation  takes  the 
place  of  the  Staff  in  the  common  notation.  It  stands  behind 
every  note  we  see  in  the  book.  From  habitual  use  of  it,  thu 
Mind's  eye  always  sees  it  there.  It  is  our  "pictorial  symbol  of 
tone  relations."  In  the  first  steps  it  shows  us  the  relations  of 
tones  in  a  single  key,  and  at  the  fourth  and  other  steps  it  shows 
the  relations  of  keys  to  one  another.  A  complete  familiarity 
with  the  Modulator  is  of  the  utmost  importance,  for  it  is  impos- 
sible to  understand  the  notation  properly  until  it  is  printed  on 
the  mind  ;  in  fact,  until  the  letters  of  a  tune  become  not  merely 
a  straight  line,  but  "pointers"  which  at  once  carry  the  mind  to 
the  Modulator.  It  is  to  the  Sol-fa  singer  what  the  key-board  of 
the  piano  is  to  the  .player.  It  is  not  sim'^ly  a  diagram  illustra- 
ting the  intervals  of  the  scale  and  related  keys,  to  be  used  a  few' 
times  and  then  laid  aside.  Its  great  value  is  in  the  means  it 
affords  for  drilling  the  class  on  the  tones  of  the  scale.  It  will 
be  observed  that  the  syllables  are  spelled  with  the  English 
sounds  of  letters  instead  of  the  Italian,  as  has  heretofore  been 
the  usage.  Children  are  not  accustomed  to  to  the  Italian 
sounds  in  any  other  words,  and  there  is  no  occasion  for  con- 
fusing them  with  these.  The  open  sound  oi  soh  is  preferred  to 
sol  as  being  more  vocal.  The  exchange  of  "  te  "  for  "  se  "  (si) 
is  a  needed  improvement  for  several  reasons,  viz.  : — i.  The  usu 
of  the  syllable  "  se  "  (si)  twice,  e.  /'..  as  the  seventh  of  the  major 
scale  and  also  of  the  minor.  2.  The  letter  "  s  "  has  the  most 
unpleasant  sound  in  the  language,  and  it  should  not  occur  more 
than  once.  3.  The  change  gives  an  additional  consonant,  and  is 
useful  for  practice  in  articulation.  4.  In  the  Sol-fa  notation  a 
different  initial  letter  is  needed  for  either  soh  or  se. 

Mental  Effects. — Somo  teachers  are,  at  first,  inclined  to 
ignore  this  doctrine  of  the  Sol-fa  method,  but  it  is  a  subject  emi- 
nently worthy  of  the  profoundest  study.  Mental  effects  are 
difficult  to  perceive  because  they  are  mental.  Let  not  the 
teacher  be  discouraged  if  he  does  not  at  once  grasp  the  whole 
matter.  The  perception  of  mental  effect  is  cumulative,  the  more 
the  subject  is  studied  the  plainer  it  becomes.  The  practice  of 
teaching  by  mental  effect  has  become  so  important  in  the  Tonic 
Sol-fa  method  that  the  teacher  cannot  take  too  much  pains  to 
master  it.    Ife  should  remember  that  thest  effects  txist,  whether  he 


iicognizes  them  of  not,  and  it  is  certainl}'  wiser  to  utilize  than  to 
ignore  them.  The  pamphlet  "  Studies  in  Mental  Effects"  fur- 
nish a  large  variety  of  examples. 

Steps  of  the  Methou. — One  of  the  most  useful  features  of 
the  method  is  the  arrangement  of  the  course  of  instruction  in  a 
series  of  graded  steps.     The  close  of  each  step  is  intended  as  a 


INTRODUCTION 
1 


V. 


Bring  on  separate  slips  of  paper  the  names  of  three  tunes, 

and  point  and  Sol-fa  on  the  Modulator,  from  memory,  one 

of  these  tunes  chosen  by  lot. 
Sing  on  one  tone  to  /<?,  in  pcifcctly  correct  time,  any  one  of 

\os.  I  to  9  of  tlie  "  Elementary  Rhythms,"  taken  by  lot. 

Two  attempts  allowed. 


point  at  which  the  work  should  be  revised,  and  the  standing  of  i  3.  Follow  the  Examiner  in  a  Voluntary  by  the  Manual  Signs,  or 


each  pupil  ascertained  before  proceeding  to  the  next.  Any- 
thing which  is  left  dimly  understood  or  imperfectly  practiced  in 
one  step,  is  only  a  legacy  of  so  much  confusion,  weakness  and 
discouragement  handed  over  to  the  next.  How  many  lessons 
will  be  required  to  teach  each  step  it  is  difficult  to  say,  without 
knowing  the  kind  of  class.  Some  classes  will  require  one  les- 
son and  some  three  or  four  to  each  step.  The  teacher  should 
be  guarded  against  hurry  rather  than  delay. 

The  Certificates. — At  the  end  of  the  third  step  a  distinct 
personal  examination  of  each  pupil  is  made  for  the  Junior 
School  Certificate.  At  the  end  of  the  fourth  step  another  exami- 
nation is  made  for  the  Elementary  Certificate.  The  value  of 
the  Certificate  depunds  on  the  known  character  of  the  Examiner 
for  strictness  and  integrity.  A  careless  examination  soon 
makes  the  pupil  ashamed  of  his  Certificate  and  of  the  teacher 
wiio  signed  it.  The  special  object  of  these  Certificates  is  to 
save  the  pupil  from  one-sidedness,  and  to  secure  an  equality  of 
progress  in  lime,  tune,  memory,  &c.,  as  well  as  to  promote  pri- 
vate study  and  discipline  at  home.  They  supply  to  the  teacher 
also  a  welcome  test  of  his  own  work.  If  he  finds  his  pupils 
generally  failing  in  the  Time  Exercises  of  the  Certificate,  he 
knows  where  his  own  neglect  has  been.  If  their  failure  is  in  the 
Ear  Exercises  or  in  memory  or  in  tune,  he  learns  how  to  im- 
prove his  lessons.  It  has  been  proved  by  extensive  and  careful  | 
statistics,  that  those  teachers  who  make  the  fullest  use  of  tlie  i 
Certificates  have,  on  an  iiversigc,  /our  times  the  success  of  other  \ 
teachers,  however  skillful  those  other  teachers  may  be.  There- 
fore it  is  that,  in  the  Tonic  Sol-fa  movement,  every  pains  is  taken 
to  put  /lonor  on  the  Certificates— first,  by  guarding,  as  far  as  pos- 
sible, the  strictness  of  the  teaching  ;  and  second,  by  firmly  pro- 
hibiting the  appearance  of  any  uncertificated  pupil  at  a  public 
concert.  Any  one  who  gives  his  pupils  the  gratification  of 
taking  part  in  a  public  entertainment  before  they  have  taken 
the  trouble  to  prepare  themselves  for  a  Certificate,  does  an  un- 
kindness  to  his  brother  teachers  and  to  our  whole  movement, 
and  a  greater  unkindness  to  his  lazy  pupils.  The  Elementary 
Certificate  is  the  only  honest  introduction  to  an  Intermediate 
class,  and  the  Intermediate  Certificate  is  a  necessary  ground  of 
membership  for  an  Advanced  class. 

JRequirements  of  the  Certificates. 

Junior  School  Certificate.— ^j:a»«'«/rj  .•  Teachers  or  their 
Assistants  who  hold  the  "  Elementary." 


on  the  Modulator,  moving  at  the  rate  of  M.  6o,  and  con- 
sisting of  at  least  sixteen  two-pulse  measures,  including 
leaps  to  any  of  the  tones  of  the  scale,  but  neither  transition 
nor  the  minor  mode. 
4.  Answer  correctly  any  one  which  the  teacher  may  choose  of 
the  exercises  belonging  to  Class  A  in  the  second  and  third 
steps  of  "Hints  for  Ear  Exercises,"  {e.  i ,  Nos.  76  to  121 
and  160  to  175),  or  any  corresponding  exercise. 

Ele.mentarv  Certificate. — Examiners  :  Teachers  or  their 
Assistants  who  hold  the  "  Intermediate." 

1.  Bring  on  separate  slips  of  paper  the  names  of  six  tunes,  and 

point  and  sing  on  the  Modulator,  from  memory,  one  of 
these  tunes  chosen  by  lot. 

2.  Sing  on  one  tone  to  la  in  perfectly  correct  time,  any  two  of 

the  "  Elementary  Rhythms,"  taken  by  lot.  'Iwo  attempts 
allowed. 

3.  Follow  the  Examiner's  pointing  in  a  Voluntary  on  the  Modu- 

lator, moving  at  the  rate  of  M.  60,  containing  transition 
into  one  of  the  side  columns  on  the  "better  method." 

4.  Pitcii  by  help  of  a  tuning  fork.  Sol-fa  not  more  than  three 

times,  and  afterwards  sing  to  words,  or  to  the  open  sylla- 
ble La,  any  "  part "  in  a  psalm  tune,  in  the  Tonic  Sol-fa 
Notation,  not  seen  before — but  not  necessarily  con' lining 
any  passages  of  transition,  or  of  the  Minor  Mode,  or  any 
divisions  of  time  less  than  a  full  pulse. 

5.  Tell  by  ear  the  Sol-fa  name  of  any  three  tones  in  stepwise 

succession  (except  m  r  d)  the  Examiner  may  sound  to  the 
syllable  "Sca/i,"  the  Examiner  having  first  given  you  the 
key-tone  and  chord.     Two  attempts  allowed. 

Manner  of  Tetu'hing-. 

It  is  hardly  necessary  to  say  that  the  ways  of  presenting  the 
various  subjects  in  this  book  are  not  to  be  followed  mechani- 
callj'.  They  are  illustrations  of  the  manner  in  which  the  topics 
may  be  treated,  but  every  teacher  will  have  his  own  way  of 
carrying  out  the  details.  One  of  the  leading  characteristics  of 
this  system  is  that  so  little  time  needs  to  be  occupied  with 
theory.  "We  learn  to  do  by  doing"  is  the  grand  motto  of  the/ 
Tonic  Sol-faist.  The  new  devices  of  the  system— the  Modulator, 
Manual  Signs,  Time-names,  and  even  the  doctrine  of  Mental 
Eflfects  are  all  expedients  for  leading  the  student  \o  practice 
more,  to  think  more,  to  remember  better  ;  in  other  words,  to  in- 
crease his  musical  intelligence. 


VI 


MENTAL  EFFECTS  AND   MANUAL  SIGNS  OP  TONES  IN  KEY. 

^OTK.  — The  dixigramssliDW  the  right  haiid  as  seen  bij  pupils  sitting  in  front  of  the  teacher  toward  his  left  hajid.     The  teacher  makti 
Aw  signs  in  front  of  his  ribs,  chest,  face  and  head,  rising  a  little  as  the  tones  go  up,  aud  falling  as  they  go  down. 


FIRST  STEP. 


SOH. 

The  Grand  or  bright  tone, — the  llnjor 
Dominant,  making  with  Te  and  Ray  the 
Dominant  Cliord,— the  Chord  S,  and'  with 
IHih  also  the  Dominant  Seventh  Chord, — 
the  Chord  'S. 


SECOND  STEP. 


THIRD  STEP. 


TE. 


The  PiEEciNO  or  sensUive  tone,— the  Ma- 
jor Leading  Tone,  making  with  Ray  and 
Mih  the  weak  Chord  T. 


The  Steady  or  calm  tone, — the  Major 
Mediant,  making  with  Soh  and  Te  the 
rarely  used  Chord  M. 


OOH. 

The  Stuono  or  flrni  tone — the  Major 
Tonic,  making  with  Me  and  Soh  the  Tonic 
Chord,  the  Chord  D. 


RAY. 


The  RousiNo  or  hopeful  tone, — the  Major 
Superionic,  making  with  Fah  and  Lah  the 
Chord  R, — in  which  case  it  is  naturally 
sung  a  komma  flatter. 


LAH. 


The  Sad  or  weeping  tone, — the  Major 
Submediant,  making  with  Doh  and  Me 
the  Chord  L. 


FAH. 


The  Desolate  or  awe-inspiring  tone, — 
the  Major  Subdominant,  making  with  Lah 
and  Doh,  the  Subdominant  Chord, — the 
Chord  F. 


^,  «*«..— I^ese  proximate  verbal  descriptions  of  mental  efect  ar«  ordy  true  of  the  tones  of  th«  scale  when  sung  slowly— when  the  ear  is 
JSUd  with  the  key,  and  when  the  effect  is  not  modified  by  harmony. 


Note. 


icher  maktk 


FINGEB-SIQNS  FOB  TIME, 
AS  SEEN  PROM  THE  PUPIL'S  (NOT  TUB  TEAOHEE'S)  POINT  OP  VIEW. 


TAA. 


TAATAL 


tafatofe. 


the   Major 
h  and    Me 


ng  tone, — 

with  Lah 

hord, — the 


%ih»  ear  i$ 


TAAtefe. 


.AA. 


TAA-efe. 


AATAI. 


tafaTAL 


tiAA. 


IkkSAI. 


SAATkL 


VIU 


NOTATION  OP  TIME. 

The  loug  heavy  bar  indicates  a  Btrocg  accent;  the  short,  thin  bar  (  |  )  a  me- 
dium acceut,  and  tho  colon  (  :  )  a  weak  accent 

Time  is  represented  by  the  spnce  between  the  accent  marks.  The  space  from 
one  accent  niaik  to  the  next  reprcKents  a  Pulse.  (Heat,  or  Part  of  the  measure). 
The  space  between  the  strong  accent  marks  (.long  bars)  represents  a  measure. 


TWO-PULSE 
MiCASUKE. 


THREE-PULSE 
MEASUKE. 


FOUK-PULSB 
AlEASUltE. 


SIX- PULSE 
MEASUKE. 


II    =    IIH  ■■  -■  ill  =  '  Mill 

Thh  Tonic  Sol-fa  Method  makes  tise  of  a  system  of  Time-names  to  aid  in  the 
.c?y  of  time.     The   I'nise  is  the  unit  of  meiisnvement, 


mg  is  named  taa. 


d 

TAA 


:d 

TAA 


Id 

TAA 


:d 


TAA 


and  a  tone  one  pulse 


Tho  contimmtion  of  a  tone  through  more  than  one  pulse  is  indicated  by  i 
dash,  and  the  time-name  is  obtained  by  dropping  the  consonant 


d     :d     id 


TAA       TAA         TAA    -    AA        I  TAA    -    AA      -    AA 


AA 


^ 


A  pulse  divided  into  halves — half-pulse  tones 
—is  named  taatai,  and  is  indicated  in  the  nota^ 
tion  by  a  dot  in  tlie  middle,   (prou.  iaii-tay) 

A  tone  continued  into  tne  tirst  half  of  the  ^ 
next  pulse — a  pulse-and-a-half  tone-  is  named  and  [■ 
indicated  thus:  ; 

A  pulse  divided  into  quarters  is  named  iqfatefe,  ) 
and  is  represented  by  a  comma  in  the  middle  of  f 
each  half-pulse,  (pvon.  iah-fah-iay-fay).  ' 

A  pulse  divided  into  a  half  and  two  quarters  \ 
IS  named  TAAtefe.  j 

A  pulse  divided  into  three  quarters  and  a  \ 
quarter  is  ramed  ,TAA-efe.  and  is  indicated  by  a  !■ 
dot  and  comma.  j 

Thirds  of  a  pulse  are  named  taataitee,  and  ) 
represented  by  commas  turned  to  the  right  \ 

Silences  (Rests)  are  named  by  substituting 
the  letter  S  for  T  or  f,  thus— a  full  pulse  silence 
is  named  SAA ;  a  half-pulse  silence  is  named  SAA 
on  the  first  half  of  a  pulse  and  SAI  on  the  second 
half.  Quarter-pulse  silences  are  named  sa  on  the 
first  half  and  se  on  the  second.  Silences  are  in- 
dicated by  the  absence  of  notes  in  the  pulse  di- 
visions, e.  %.,  vacant  space. 


Minuter  divisions  of  the  pulse,  sixths,  eighths,  ninths,  are  eeldom  used  ex- 
cept in  instrumental  music.    In  the  Sol-fa  notation  no  diatinction  is  made  between 
^   ^  ja.   ji. 
J'  J*  5'  S  **<'•»  ^^^^  being  but  one  way  of  writing  the  different  rMrittiea  of 

measure 


d     .d 

:d     .d 

TAATAI 

TAATAI 

d 

:-     .d 

TAA 

-AA           TAX 

d,d.d  ,d 

:d     .d 

ta-fa  -  te-fe 

TAAT,U 

d     .d,d 

TAA  -  te  -  le 

:d     .d,d 

TAA   -    te-fe 

d        .,d 

TAA       -efe 

:d        .,d 

TAA        -efe 

d  ,d  ,d 

trta  -  tai  -  tee 

:d  ,d  ,d 

taa  -  tai  -  tee 

d 

TAA 

'sAA              II 

d     . 

TAA          SAI 

:         .d 

SAA     TAI 

d,d.d , 

ta-fa -te-ae 

:    ,d .d,d 

sa  -  f a  te  -  fe 

THE  MODULATOB. 


d< 

t 


se 
8 

ba 
f 

n 


I 

s 


d 

ti 

li 

Be, 

8|         « 

ba, 
f| 

Hi      - 


fe' 


f 

m' 

rl 


re' 


de' 


doh> 


te 


ta 


le 


la 


lab 

Be 

soh 

bah 

fah 
ire 


fe 


ma 


re 


de 


ray 

doh 

t, 

ta, 

1| 
Be, 

8| 


d' 
t 


Be 
8 

ba 
f 

n 


d 

t, 

1. 

Be, 


ba,. 


THE  TONIC  SOL-FA  MUSIC  READER. 


PART  I.-INSTRUCTIONS  AND  EXERCISES. 


FIRST  STEP. 

To  recoonize  and  produce  the  tones  Doh,  Me,  Soh;  the  upper  octave  of  Doh,  and  the  lower  octave  of  Soh.     To  recognize  and  produce  iha 
ttrong  and  weak  accent,  and  the  simplest  divisions  of  time,  mz:-the  False,  the  half-pulse,  two-pidse  measure  aiul  three-pulse  measure. 

The  first  lesson  may  begin  by  practicing  a  familiar  tune,  or 
bv  a  few  appropriate  remarks  by  the  teacher,  after  which  he  may 
Bay — 

You  may  listen  to  me  and  be  ready  to  sing  the  exam- 
ples I  give  you. 

lie  sings  a  tone  which  he  considers  in  his  own  mind  on  Doh, 
the  lirst  tone  of  the  scale,  at  about  the  pitch  of  D  or  E,  clearly 
and  tirmly  to  the  syllable  la. 

You  may  all  sing  it. — 

The  dash will  signify  that  a  command  is  obeyed  '  • 

a  question  answered.  It  may  be  necessary  to  repeat  the  exampio 
several  times  be+"  ;:  *   o  voices  blend  well. 


NOTF —The  teacher  sltntild  iioversiiis  iirith  his  pupils,  bnt  slve  ex- 
amples o.  1  iltoruH  careriilly  wliioli  ihey  aio  to  iniitato.  They  shoiiM 
liHteu  while  ho  sings,  ami  ho  li.ston  wliilo  tlioy  sing  Mr.  Ciirwon  siiys, 
"Tlio  first  art  of  the  pupil  is  to  Ihten  weU.  Ho  that  liatons  host,  sings 
best."    After  this  tone  is  sung  correctly,  the  teacher  may  say— 

Listen  to  me  again  — 

He  now  sings  a  tone  a  fifth  higher,  Soh,  the  fifth  tone  of  the 
scale,  to  the  syllable  la.    The  pupils  imitate. 

Jsow  sing  these  two  tones,  after  me,  just  as  I  sing 
them. 

lie  sings  the  two  tones  in  succession,  to  la,  in  any  order  he 


chooses,  but  varies  the  manner  of  producing  them;  making 
thein  Rouietimes  loud,  sometimes  soft,  long  or  sliort;  chawjinij 
the  pitch  of  Doh  frequently,  sometimes  singing  C  and  G,  some- 
times E  and  B,  or  D  and  A,  etc.,  the  pupils  imitating  each  pat- 
tern.    See  examples  below — Exs.  1  to  4. 

We  will  now  learn  the  names  of  these  two  tones — The 
it  v  er  tone  is  called  /)o/i— What  is  it  called  ?— The  upper 
ttiii'j  is  called  /So/i— What  is  it  called? 

XOTK.— In  (riving  out  a  new  fact  or  principle  tho  teaoher  shouM  al- 
•wavr  .lUi'Mtiiii'  :iu  impils,  that  thoy  iir,\y  not  only  hear  it  stiiltMl  but  bo  lod 
to  Htato  '♦  I  icmsulviH.  The  tuaclier,  as  lie  given  t'.ie  nann'»,  writes  or 
"p-iiitH  Uinni  on  tlie  blackboard,  Hoh  above  Doh,  leaving  considerablB 
space  between  them. 

Now  we  will  Sing  the  tones  to  their  names;  repeat 
iifter  me  the  tones  I  give  you. 

The  following  exercises  are  specimens  of  patterns  which  the 
teacher  may  gi  ■.  '\  The  upright  lines  indicate  how  much  of  each 
exercise  may  be  gi^m  as  a  pattern.  The  horizontal  dash  — • 
sho  vs  that  the  tone  should  be  prolonged.  For  the  sake  of  soli- 
tary students,  who  cannot  have  the  assistance  of  a  tcachei,  the 
exercises  are  printed  in  the  form  of  diagrams,  the  arrow  indi- 
cating the  upward  or  downward  direction  of  the  voice.  A  nar- 
rower tyi>e  and  somewhat  altered  form  is  given  to  the  letter  m 
(PI),  for  convenience  in  printing. 


Ex.  I.     KEYB  D,  F  and  C. 


SOH 


DOH 


SOH 


dd  d- 


s  s  s  — 


/ 


s    s 


d    d 


d  — 


s  s  s  — 


Ex.  3. 


Ex,  4. 


DOH 


s  — I  s    s 


J  S      S  i-  S     — 

d—    d  d  d  —     d  —  a 


ddd- 


s    s 


\ 


d  -    d  d 


\ 

d  — 


•2 


FIRST.  STEP. 


You  may  now  sing  as  I  point  to  the  names  on  the 

blackboard  and  without  a  pattern  from  me. 

They  Bing,  to  his  pointing,  exercises  similar  to  those  given 
above. 

Sing  again  as  I  point,  but  this  tune  sing  the  tones  to 
la. 

He  points  to  the  names,  they  sing  to  la.  In  all  these  exer- 
cises the  teacher  will  frequently  change  his  keytone,  lest  the  pupils 
be  tempted  to  try  to  sing  by  absolute  pitch  instead  of  giving 
their  attention  to  the  relation  of  tones. 

Now  I  will  sing  Doh  and  you  may  sing  the  Soh  to  it. 

He  sings  Doh  and  then  gives  them  a  signal  to  sing  Soh. 

I  will  take  a  different  Doh  and  ycu  may  give  me  the 

Soh  to  it. 

He  takes  a  different  pitch  for  Dnh  and  they  sing  the  Soh  to 
it.    This  he  does  several  times,  always  changing  the  keytone. 

You  may  now  name  the  tones  as  I  sing  them,  I  will 
«ing  to  la,  and  when  I  sing  the  lower  tone,  say  Doh,  and 
-when  I  sing  the  upper  tone  say  Soh. 

He  sings  the  two  tones  in  various  successions,  the  pnpils 

Ex.  5.     KKYH  D,  F  iind  C. 

SOH 
ME 

DOU 
«0H 

ME 

DOU 

Now  sing  as  I  point. 

The  teacher  should  drill  the  class  thoroughly  on  these  three 
^nes,  singing  them  first  to  the  names  and  afterward  to  la. 

The  pitch  should  be  changed  frequently. 

Tims  far  we  have  been  studying  the  names  and  relative 
positions  of  these  three  tones,  but  now  I  want  to  call  your 
attention  to  the  most  important  and  most  interesting  thing 
about  them,  and  that  is  their  characters,  or  the  effects  or 
feelings  they  produce  upon  the  mind.  One  of  thera  is  a 
strong,  firm  tone;  another  is  a  bright,  clear,  grand  tone; 
and  another  is  a  gentle,  peaceful,  calm  tone.  I  want  you  to 
find  out  the  character  of  each  tone  for  yourselves.  You 
may  listen  to  me  and  as  I  sing  give  your  attention  speci- 


n— 


m — 


calling  out  "Doh,"  ••Sob,"  etc.  It  may  be  well  for  him  to  sinf 
each  tone  several  times  and  not  to  change  too  quickly — for  in 
stance  d,  d,  d,  d,  ■,  •,  i,  s,  d,  d,  s,  s,  d«  b,  d,  b,  s,  d,  eta 

Name  them  once  more,  and  if  I  sing  a  different  tone 
from  these  two,  one  that  is  neither  Doh  nor  Soh,  you  may 
say  New-tone. 

He  sings  as  before,  the  class  calling  out  the  names,  and  after 
keeping  them  a  little  while  in  expectation,  be  sings  the  third 
tone  of  the  scale— Jfe— (of  course  to  la),  which  the  pupils  at 
once  detect.  It  is  better  to  let  the  new  tone  come  in  after  Soh, 
thus,  d— 8  -n — . 

Is  the  new  tone  higher  or  lower  than  Dohf        SOH 

Is  it  higher  or  lower  than  Sohf 

The  name  of  the  new  tone  is  Me. 

What  is  its  name  ?  ME 

Where  shall  I  write  it  on  the  board? 

See  diagram. 

Imitate  the  patterns  I  give  yon.  DOH 

'  He  patterns  the  following  or  similar  examples,  singing  to 
the  n^mes,  which  the  pupils  repeat. 


Ex.  6. 


n 


/\ 

d      d- 


s       s— 


\/ 


n 


n       m— 


V 


n       n— 


Ex.  8. 


S — 


/ 


PI 


/ 


\ 


PI 


\ 


d— 


ally  to  Doh,  and  then  tell  me  which  of  these  characters  it 

has ;  whether  it  is  ..aim  and  peaceful,  or  clear  and  grand, 

or  strong  and  firm. 

Teacher  sings  the  following  phrase  or  something  similar, 
bringing  out  strongly  the  character  of  Doh. 

|d:  —  |d:d|m:nj|d:  —  |d:m|8:m|8:s|d:  —  II 

Is  Doh  calm  and  peaceful,  or  clear  and  grand,  or  strong 
and  firm? 

Now  listen  to  Soh  and  tell  me  what  character  it  has. 
Teacher  sings  the  following  phrase.  ^ 

|d:d|m:d|B:s|B:-|s:in|d:in|8:i|B:  —  jj 
What  kind  of  a  tone  is  Soh  ? 


FIRST   STEP. 


him  to  8in|i 
ikly — for  in 

fferent  tone 
i,  you  may 

08,  and  after 
gs  the  third 
xe  pupils  at 
in  after  Soh, 

SOH 


ME 
DOH 

9,  singing  to 


'\ 


n — 


laracters  it 
and  grand, 

ing  similar, 

s|d:-|| 
i,  or  strong 

er  it  has. 

I  «  :  -  II 


Now  listen  to  Me. 

Teacher  sings  the  following  phrase. 

Id:d|n:diin:8|n:  —  |n:in|8:Pi|d:s!in:—  II 

What  is  the  character  of  3Ief 

What  kind  of  tone  is  Do  f— Soh  ?  Mef 

I  call  yofur  attention  to  these  characters  or  mental  ef- 
fects of  the  tones  not  as  a  mere  matter  of  curiosity,  but  as 
a  real  help  in  singing  them.  As  you  try  to  sing  a  tone, 
think  of  its  mental  effect  and  that  will  help  you  to  sing  it 
correctly. 

Let  us  now  learn  to  sing  the  tones  from  signs  repre- 
senting their  mental  effects.  The  strong,  firm  tone  is 
represented  by  the  closed  hand  thus,  (see  manual  signs). 
All  make  it. 

What  kind  of  a  tone  is  indicated  by  this  sign  ? 

What  is  its  name? 

The  bright,  clear,  grand  tone  is  represented  by  the  open 
hand  thus  — .     All  make  it. 

What  kind  of  a  tone  does  this  sign  mdicate  ? 

What  is  its  name? 

And  this  sign  (open  hand,  palm  downwards),  represents 
the  calm,  peaceful  tone.     All  make  it. 

What  kind  of  a  tone  is  indicated  by  this  sign  ? 
And  this? — and  this? — etc.,  etc,,  etc. 
Give  me  the  sign  for  the  strong  tone. 
The  sign  for  the  grand  tone. 

The  sign  for  the  calm  tone — Grand  tone. — Strong 
tone,  etc. 


Ex.9. 

KKY  D. 

d 

d 

n 

d 

Ex.  10. 

KKY    F. 

d 

n 

s 

s 

Ex.  II. 

KKY  C. 

t 

s 

m 

s 

Ex.  12. 

KT.Y    E. 

fl 

m 

d 

m 

Ex.  13. 

KKY  G. 

n 

d 

s 

n 

Ex.  14. 

KEY  E. 

n 

n 

n 

d 

Ex.  15, 

KEY  C. 

d 

8 

m 

d 

Ex.  16. 

KKY  D. 

d 

m 

8 

n 

n 


n 


m 
d 
d 


8 


n 


m 


m 


m 


n 


rn 


Yon  may  smg  the  tones  as  I  indicate  them  by  the 
signs.    Think  of  their  mental  effects  as  you  sing  them. 

The  teacher  will  give  a  good  drill  with  the  band-signs,  pu- 
pils singing  to  the  sol-fa  names  and  also  to  la. 

Listen  to  me  and  when  I  sing  the  grand  tone,  instead 
of  telling  me  its  name,  you  may  give  me  its  sign. 

Teacher  sings  the  tones  to  la  and  each  time  he  sings  soh 
the  pupils  make  the  sign. 

Now  give  me  the  sign  for  the  calm  tone  when  you 
hear  it. 

Teacher  sings  as  directed  above,  pupils  make  the  sign. 

Now  give  the  sign  for  the  strong  tone. 

Teacher  and  pupils  as  directed  as  above. 

Now  give  the  sign  for  each  tone  as  I  sing. 

Teacher  sings  to  la,  pupils  giving  the  sign  for  each  tone. 

1  will  indicate  the  tones  in  yet  another  way.  I  will  let 
d  stand  for  Doh,  m  for  Me  and  s  for  Soh. 

Teacher  writes  the  following  exercise  or  a  similar  one. 


S         S 


m       m 


You  may  sing  the  lesson  as  written  and  you  will  b 
singing  from  the  Tonic  Sol-fa  Notation. 

The  following  exercises  may  now  be  written  upon  the  board 
and  practiced,  or  they  may  be  sung  from  the  book, — first  to 
the  syllables  and  then  to  la.  "Key  C,"  "Key  G,"  etc.,  will 
tell  the  teacher  where  to  pitch  his  Doh.  Although  there  is  no 
indication  of  time  in  these  exercises,  they  all  have  a  melodic 
iform  and  should  be  sung  with  a  rhythmic  flow.  They  may  be 
sung  as  fust  or  as  slow  as  the  teacher  likes;  he  can  indicate  the 
time  by  gentle  taps  on  the  table. 


n 


n 


m 


8 


n 


s        n       m       8        s        PI       8 


s        mdmnsmd 


n       s       PI 


m        8       8 


m       n       PI        8       8 


8       m       m       8        PI 


PI 


n 


mdmd8        msd 
8P18        d8       dmd 


FIRST  STEP. 


Time  and  Bhythm — measure — may  be  introduced  here  if 
the  teachur  thinks  best.    For  method  see  page  5. 

The  upper  octave  of  Doh  may  now  be  taught  by  the  same 
process  as  that  used  for  Me.  'NVhen  the  pupils  have  discovered 
the  new  tone  the  teacher  may  proceed  as  follows: 

Is  the  new  tone  higher  or  lower  than  Doh? 

Is  it  higher  or  lower  than  Me? 

Higher  or  lower  than  ^o/i? 

The  name  of  the  new  tone  is  Doh.    What  is  its  name? 

Yon  may  think  it  strange  that  we  have  two  tones  with 
the  same  name,  but  it  will  be  explained  a  little  later  in  the 
course. 

NOTit.— The  nature  of  octaves  can  be  better  explained  after  the  com- 
plete sc&le  has  beou  taught. 

Where  shall  I  write  it  on  the  board  ? 


80H 


ME 


DOH 


Ex.  17.  KEYS  C  and  D. 

d       m  s        d' 

d'       s  m       — 

m       d'  s        — 

d'       s  m       d 


d' 
d' 
d' 
d' 


s 
n 
d 


n 

s 
s 
s 


After  n  thorough  drill  upon  the  tones  by  pat- 
tern, from  the  Modulator,  Hand-Signs  and  so  on,  the 

Ex.   18.      KEY  D. 

d        d       m       PI       d       n       s 

Ex.  19.     k:vC. 

d         s        m        s        d'       s        d' 

Ex.  20.  c. 

d'         s        m        p)       d'       m       s 

Ex.  21.     Ki:v  D. 

d         m       s        d'       d'       s        s 


The  teacher  may  now  explain  the  lower  octave  of  Soh  by 
simply  stilting  that  as  we  have  an  Upper  Doh,  so  we  may  also 
have  a  Lower  Soh.  It  is  indicated  in  the  notation  by  the  figure 
1  placed  at  the  bottom  of  the  letter  thus,  s,,  and  is  called  Soh- 
One.  Its  mental  effect  is  the  same,  only  somewhat  subdued. 
The  hand  sign  for  s,  is  the  same  as  for  s  with  the  hand  lowered. 


Ex.,  22-    KEYS  F,  A  iiud  6. 

d       8,       d       -       11 
d       m       d        8|       d 


i 


ni 


d 

KEY  D. 

8 


8| 

n 


I  need  not  write  it  in  full;  the  first  letter  will  b©  '^^' 
ficient. 

Teacher  writes  a  d  in  the  proper  place. 

In  writing,  the  Upper  Doh  is  indicated  by  the  figure  I 
placed  at  the  top  of  the  letter  thus,  d',  and  is  called  One- 
Doh.  While  we  are  practicing  this  now  tone  I  want  you 
to  be  thinking  about  its  mental  effect;  compare  the  Upper 
Doh  with  the  lower  and  notice  whether  it  has  the  same 
effect,  or  if  it  is  stronger  or  firmer. 

Let  the  new  tone  be  practiced  in  connection  with  the  others, 
first  by  patterns  from,  the  teacher,  and  then  from  the  teacher's 
pointing.  Then  let  the  teacher  by  questioning  develop  the 
fact  that  its  mental  effect  is  the  same  as  the  lower  doh,  only 
stronger  or  more  positive.  The  manual  sign  for  d'  is  the  some 
as  for  d  with  the  hand  raised.  The  foUoNving  exercises  are  given 
as  specimen  patterns  for  the  teacher.  Sing  them  first  to  the  sol- 
fa  syllables,  and  afterwards  to  la. 


d' 
s 
d 
di 


s 
d' 
d' 
s 


d'  — 

n  — 

m  — 

n  — 


following  exercises  may  be  written  upon  the  blackboard  and 
practiced  or  they  may  be  siing  from  the  book. 


S 
PI 


d' 
n 
d' 
d 


d' 

PI 
m 
n 


s 


s 

8 


PI 
8 
PI 

n 


PI 
s 
d' 


PI 
s 
d' 

8 


d 
di 
d 
d 


d' 


Let  Soh-One  be  practiced  after  the  same  manner  as 
that  pursued  with  the  One-Doh,  only  taking  a 
higher  pitch  for  the  key  tone. 

The  following  exercises  are  patterns  for  the 
teacher. 


a     II 

8  S| 

8  PI 


d 
d 


PI 


SOH 


ME 


DOH 


n 


1] 


be  buir 


ignre  1 

id  One- 

nt  you 

Upper 

le  same 


FIBST   STEP. 


-^le  class  is  now  ready  to  practice  the  following  exercises. 
Ex.  23.    KEY  F. 

dS|dms8        md 

Ex.  24.      KET  A. 

d       d       m      d       S|       S|       m       d 

Ex.  26.      KEY  G. 

m       m       d       S|       8       8        m       d 

Ex.  26.    KEY  F. 

8        8        m       d       S|       8|       m       d 


d 
n 

8 
8 


8l 

m 


m       8 


Si 


s  m  d  S| 
d  8|  m  8{ 
m       d       S|      s 


d 
d 
d 
d 


TIME  AND  RHYTHM. 


NOTK.— The  Tonic  Sol-fa  treatment  of  the  snbjoct  of  Time  (Rhyth- 
;jiic8),  (litters  eaoentiuliy  from  tliat  which  hna  UHiinlly  prevailed  iu  this 
•country.  Here  the  tnAMure  \x;\n  been  ru^rnnlud  im  tlie  Btnndanl  or  unit. 
In  tliu  Solfa  metliod,  tlie  puUe,  which  correHpondx  to  our  beat  or  part  n/  the 
tneaxure,  ix  treated  as  tlie  unit;  and  tune  is  nieiisuied  by  a  regular  recur- 
rence of  accent.  This  is  undoulttedly  tlie  true  |iliiliiso|iliy.  In  fact  some 
prouiinent  teachers  in  this  country  have  already  developttd  this  theory  iu 
their  later  works.  There  are  several  ways  in  which  this  subject  may  l)e 
presented  to  a  cla.ss.  The  following  will  serve  as  nn  illu.stri'ttion  ofone 
"way,  which  the  teacher  may  vary,  or  condense  or  enlarge  as  ho  may  deem 
best. 

Listen  to  me,  I  will  sing  a  familiar  tune,  and  as  I  sing 
I  wish  you  to  observe  that  tliere  will  occur  in  your  minds, 
at  regular  intervals,  a  throb  or  pulsation  of  some  kind  that 
keeps  time  with  the  music. 

The  teacher  sings  to  la  a  familiar  tune  such  as  "  Haste  thee 
Winter,"— 

|d:d|s:s|l:l|s:  —  |f:f|ni:m|r:r|d:  —  ll&c. 

or  "Vesper  Hymn," — 
|n:8|f:s|pi:s|r:s|m:s|f:r|d:t||d:  —  II 

bringing  out  the  strong  accent. 

Tho.se  who  noticed  the  throbs  or  pulsations  may  hold 
np  hands. 

I  will  sing  again  and  will  indicate  these  pulsations  by 
taps  upon  the  table,  and  you  may  indicate  them  by  some 
motion  of  your  hands. 

He  sings  again,  giving  a  tap  for  each  stronrj  accent,  the  pu- 
pils making,  perhaps,  a  downward  motion  of  the  hand. 

These  throbs  or  heavy  tones  are  called  accents.  What 
are  they  called  ? 

I  will  sing  again  and  you  will  notice  that  after  each  of 
these  accents  there  occurs  a  second  pulsation,  but  of  less 
force. 

He  sings  again,  giving  a  heavy  tap  for  the  strong  accent  and 
«  light  tap  for  each  weak  accent. 

II  ow  many  noticed  the  light  throbs  ? 

The  heavy  pulsations  are  called  strong  accents,  and 
the  light  ones  are  called  weak  accents. 

Uow  many  kinds  of  accents  have  we  ? 

I  will  sing  again  and  yon  may  Indicate  every  accent, 
ftrong  or  weak,  by  some  motion  of  your  hand. 


The  pitpils  may  be  directed  to  make  a  downward  motion 
for  the  strong  accent  and  an  upward  motion  for  the  weak  accent. 
These  motions  are  not  absolutely  essential  and  they  are  not  in- 
tended as  an  exercise  in  beating  time,  but  merely  as  a  means  for 
the  pupils  to  show  to  the  teacher  that  they  recognize  the  accents. 

Listen  again — this  time  I  will  occasionally  stop  singing 
to  show  you  that  the  accents  may  go  on  in  the  mind  with- 
out the  music. 

In  this  exercise  the  teacher  will  occnsionall^  stop  singing 
for  a  measure  or  two  but  keeps  on  tapping  in  regular  time. 

I  will  now  show  you  that  the  accents  will  move  quickly 
or  slowly  as  the  music  goes  fast  or  slow. 
Teacher  illustrates  this. 

You  learn  from  all  these  examples  that  time  in  music 
is  measured  by  regularly  recurring  accents. 

How  is  time  measured  in  music? 

The  time  from  one  stroug  accent  to  the  next  strong  ac- 
cent is  called  a  measure. 

What  is  it  called? 

What  is  a  measure  ? 

The  time  from  any  accent,  strong  or  weak,  to  the  next, 
is  called  a  Pulse. 

What  is  it  called?     What  is  a  Pulse ? 

Listen  to  me. 

He  sings  a  number  of  measures  to  la,  two  tones  to  each  meas- 
ure, accenting  distinctly,  thus,  la  la,  la  la,  etc. 

After  each  strong  pulse  how  many  weak  pulses  were 
there? 

Yes,  they  were  regularly  strong,  t«ea/fc,  strong  it^oyfc,  etc. 

Listen  again. 

This  time  he  accents  the  first  in  every  three,  thus,  la  la  li^ 
la  la  la,  etc. 

How  many  weak  pulses  followed  each  strong  pulse  ? 

Yes,  they  were  regularly  strong,  weak,  toeak,  stroko, 
weak,  weak,  etc. 


6 


hbbt  step. 


Different  arrangements  of  the  order  of  accents  makes 
different  kinds  of  measure. 

What  makes  different  kinds  of  measure? 

A  measure  consisting  of  two  pulses,  one  strong  and 
one  weak,  is  called  Two-pulse  measure.    What  is  it  called? 

A  measure  consisting  of  three  pulses,  one  strong  and 
two  weak  is  called  Three-pulse  measure.  What  is  it  called? 

Listen  to  me  and  tell  me  which  kind  of  measure  you 

near. 

Teacher  sings  a  number  of  measures  to  la,  accenting  dis- 
tinctly, changing  occasionally  from  two-pulse  to  three-pulse 
measure  and  back  again,  the  pupils  calling  out  "two-pulse," 
"  three-pulse,"  at  each  change.  Or  he  may  sing  a  familiar  tune 
in  each  kind  of  mea-sure  and  require  the  pupils  to  tell  which 
kind  of  measure  the  tune  is  in. 

NoTK— 111  tlio  Stiimlanl  Courseof  the  Tonic  Sol-fa  Method  the  pnpils 
are  not  laujilit  to  beat  time  until  tlielburth  stoii.  Mr.Ciirwun  snya— "i'li- 
pils  Hhotihl  not  bo  allowod  to  "boat"  time  until  they  have  gaiiieil  a  sense 
of  time.  *  *  •  lU'cauHO  no  one  can  well  learn  two  tliiiiss  atoiico,  antl.cou- 
seijiirntly,  tliose  who  try  to  do  .so  areconstantly  toiiuilbeatinj;  to  their  Hi iig- 
jnj;  intjtead  ol'  siiij^inj:  to  an  independent,  steady  beat.  *  *  *  Iieatin(j  time 
can  be  of  no  u.se — is  only  a  burden  to  the  puniliu  keeping  time,  till  it  has 
become  almost  aiitonuilicnl,  until  "the  time  beats  itMoil',"  and  vou  know 
that  vonr  beallu;:  ivill  jio  ri^ht  whatever  becomi'sof  the  voice.  Then, and 
nut  till  then,  the  beatiiij;  bi'come.t  an  independent  test  ut  the  siuging." 

American  teachers,  however,  are  so  accustomed  to  teaching:  counting 
and  beating  time  I'rom  the  beginning  that  the  teacher  may  introduce  it 
here  it'  he  prefers — not  as  a  test  in  singing,  liut  as  a  separate  exercise  as  a 
means  or  a  help  ill  developing  the  sense  of  time.  In  two-pulse  measure 
the  coiinlingH  are  one  two,  one  two,  &c.,  and  the  motions  ot  the  baud  are 
do^on  up,  dinvn  ii|i,  Sec.  In  three-pulse  liieasnre  the  countings  are  onet  vo 
three,  one  two  ihree,  &c.,  and  the  luutious  ate  doion  left  up,  doion  left  up, 
&c.,  or  douni  right  i:p,  &c. 

Ill  priu'ticing  exercises  in  time  it  is  useful  to  have  names 

for  the  dillereiit  lengths.     The  time-name  of  a  tone  one 

pulse  long  is  Taa*  or  Taa-ai.* 

The  "ai"  is  only  needed  when  the  pupils  fuil  to  prolong 
the  tones  their  full  length. 

When  we  wish  to  indicate  the  strong  accent  we  insert 
the  letter  R,  thus,  Traa. 

This  indication  of  the  strong  accent  by  the  letter  R  is  use- 
ful in  the  first  teaching  of  accent,  and  later  on  in  dictation. 

You  may  sing  in  two-pulse  measure,  one  tone  to  each 
pulse  thus,  Traa  Taa,  Traa  Taa,  &c. 

Let  this  be  kept  going  until  all  get  into  the  "swing"  of  the 
rhythm — alternate  measures  may  then  be  sung  by  the  teacher  and 
class  or  by  two  divisions  of  the  class,  being  careful  to  keep  a 
steady  rate  of  movement.  Then  let  it  be  done  with  a  different 
rate.  In  this  exercise  be  careful  to  have  each  pulse  sung  fully 
to  the  end.  If  it  is  not  done  so,  the  second  vowel,  ai,  must  be  add- 
ed. Later  on  when  the  pupils  have  learned  to  hold  the  tones  to 
their  full  length  the  ai  may  be  omitted. 

Let  us  try  two-pulse  measure  again,  but  this  time  begin 
with  the  weak  pulse,  thus,  Taa  Traa,  Taa  Traa,  &c. 

Let  this  be  practiced  as  above. 

When  the  measure  begins  with  the  strong  pulse  it  is 
called  the  primary  form  of  the  measure.    What  is  it  called? 

*  Aa  aa  in  father— ai  as  in  psil. 


When  is  a  measure  in  the  primary  form  ? 

When  the  measure  begins  with  a  weak  pulse  it  is  called 
the  secondary  form.  What  is  it  called?  When  is  a  meas- 
ure in  the  secondary  form  ? 

Three-pulse  measure  may  next  be  practiced  with  the  same 
process  as  that  just  given  to  the  two-pulse  measure,  or  it  may  be 
defered  until  later. 

I  will  now  write  a  number  of  pulses  on  the  blackboard 
and  you  may  sing  them  as  I  direct. 

Teacher  writes  thus  : — 
Taa    Taa    Taa    Taa    Taa    Taa    Taa     Taa 

You  may  sing  them  in  two-pulse  measure  commencing 
with  a  strong  pulse. — 

Teacher  indicates  the  time  by  a  gentle  tap  of  the  pointer  on 
each  pulse. 

Again,  commencing  with  a  weak  pulse. — 

Teacher,  if  he  chooses,  may  have  them  sung  in  three-pulse 
measure. 

You  see  that  as  the  exercise  now  stands  there  is  noth- 
ing on  the  board  to  tell  us  which  are  the  strong  and  which 
are  the  weak  pulses.  In  the  Sol-fa  notation  an  upright  bar 
( I )  shows  that  the  pulse  following  it  is  to  have  the  strong 
accent;  the  weak  accent  is  indicated  by  two  dots  (:)  and 
the  Double  Bar  (||)  shows  the  end. 

Teacher  while  he  is  making  the  above  statement  inserts  the 
accent  marks  as  follows: — 

I  Taa  :  Taa  |  Taa  :  Taa  |  Taa  :  Taa  |  Taa  :  Taa  || 

What  does  the  bar  indicate  ? 

How  is  the  weak  accent  indicated? 

What  docs  the  double  bar  show? 

Tlie  accent  marks  are  placed  at  equal  distances  of  spacf 
and  thus  represent  the  equal  divisions  of  time. 

The  space  from  one  accent  mark  to  the  next,  strong  or 
weak,  represents  the  time  of  a  pulse,  and  the  space  between 
the  bars  represents  the  time  of  a  measure. 

What  represents  the  time  of  a  pulse  ? 

What  represents  the  time  of  a  measure? 

You  may  now  sing  the  exercise  as  written. 

After  it  is  sung  correctlj',  at  different  rates  of  movement,^ 
the  teacher  will  write  an  exercise,  beginning  with  the  weak  pulse. 


thus: 


Taa  I  Taa  :  Taa  |  Taa  :  Taa  |  Taa  :  Taa  |  Taa  |1 


Let  this  be  practiced  at  different  rates  of  movement  from 
the  teacher's  patterns.  Then  each  exercise  should  be  sung  to  la, 
teacher  writing  a  "  la "  under  each  taa.  Then  erasing  the  las 
and  putting  a  d  in  each  pulse  sing  doh.  Then  again  with  th<»- 
following  or  similiar  successions. 


(Taa 
id 


Taa 
d 


Taa 

g 


Taa 
S 


Taa 

m 


Taa 
m 


I  Taa 
Id 


Taa 
d 


FIBST  STEP. 


Teacher  will  next  erase  the  Sol-fa  notes,  leaving  the  taas. 

I  will  sing  the  exercise,  and  if  I  make  a  mistake,  you 
may  say  wrong. 

Teacher  sings  it  the  first  time  correctly  ;  second  time  with 
wrong  accent,  and  the  third  time  he  makes  a  mistake  in  the  sec- 
ond moasure — prolonging  the  tone  through  both  pulses,  at  which 
the  pupils  will  say  "wrong." 

Which  measure  was  wrong? 

How  many  tones  are  indicated  in  the  second  measure  ? 

How  many  did  I  sing? 

Was  it  a  long  tone  or  a  short  tone  ? 

How  long  was  it  ? 

Yes,  I  continued  the  tone  through  the  second  pulse — 
made  it  two  pulses  long.  It  is  called  a  two-pulse  tone. 
What  is  it  called? 

When  a  tone  is  continued  from  one  pulse  into  the  next 
tlie  continuation  is  indicated  by  a  horizontal  line,  thus, — 
The  time-name  for  continuations  is  obtained  by  dropping 
the  consonant,  thus,  Taa-aa. 

The  teacher,  as  he  makes  these  statements,  changes  the  sec- 
ond and  fourth  measures  so  they  appear  thus: — 

I  Taa  :  Taa  |  Taa  :  -aa  [Taa  :  Taa  j  Taa  :  -aa  || 


Teacher  pointing  to  the  continuation  mark,  asks: — 

What  does  this  horizontal  line  indicate? 

How  are  the  time-names  for  continuations  obtained?' 

How  long  must  this  tone  be? 

What  is  the  time-name  of  a  two-pulse  tone? 

A  convenient  short  name  for  two-pnlse  tones  is  Two» 
What  will  be  a  good  short  name  for  one-pulse  tones  ?  ^i 

In  the  lesson  now  on  the  blackboard  what  kind  of  tone» 
are  required  in  the  first  and  third  measures?     Ones. 
In  tiie  second  and  fourth?     Twos. 
I  will  sing  the  lesson  first  and  then  you  may  t"y  it. 

If  the  pupils  fail  to  prolong  the  tones  their  full  length,  the^ 
vowel  Ai  should  be  added,  thus  |  Taa-ai:  -aa-ai.  When  the  les- 
son has  been  sung  correctly  to  tne  time-names  and  at  different 
rates,  it  should  be  sung  to  la,  the  teacher  indicating  la  by  an  J 
under  the  time-names. 

Then  he  may  change  the  measures  so  as  to  obtain  the  fol- 
lowing or  similar  rhythms.  Each  exercise  should  be  sung 
several  times — to  the  time-names — to  la — and  at  different  rates 
of  speed.  They  may  also  be  sung  in  tune,  the  teacher  writing 
the  Sol-fa  letters  under  the  time-names  as  has  been  already  sug- 
gested. 


I  Taa      Taa    I  Taa       Taa    |  Taa      -aa    |  Taa      -aa    ll  I 

ll      :1      ll      :1      ll      :-   |l      :-   U  I 


Ex.  29, 
Taa      -aa 

1      :  — 

Ex.  31. 
Taa    I  Taa 

:1      |l 

Ex.  33. 

Taa      I   Taa 

:1  1 


Taa 
1 


Taa 
1 


-AA 


Taa 
1 


Taa 
1 


Taa 

:1 


Taa 

:1 


ITaa 
11 


Taa 
1 


-aa 


-AA      I  -AA        Taa 

:-       -    :1 


Taa 
1 


-AA 


-AA 


-AA 


Taa 
1 


Taa 

:1 


Ex    28. 

, 

Taa      -aa 

1       :- 

Taa 
1 

Taa 
'1 

ITaa 
ll 

Taa 

:1 

1  Taa 
|l 

Ex.  30. 

Taa     -aa 

1       :  — 

Taa 

1       : 

Taa 
1 

Taa 
1 

-AA 

• 

-AA 

Ex.  32. 

Taa      Taa 
1           1 

-aa 

• 
f 

Taa 
1 

Taa 

:1 

Taa 
1 

-A  A 

•      .1, 

• 

Taa 
1 


-AA 


Taa 
1 


-AA 


Taa 
1 


Taa 

:1 


-AA 


-AA 


-AA 


Taa 
1 


It  is  not  imporrant  to  dwdl  on  the  .lecondnry  forms  of  the  meas- 
ure or  on  three-pulse  measure  at  this  point.     To  practice  three- 


pulse  measure  the  teacher  will  write  the  following  exercise  on  the 
board. 


I  Taa     :  Taa    :  Taa    |  Taa     :  Taa     :  Taa    |  Ta.^.     :  Taa     :  Taa    I  Taa     :  Taa     :  Taa    | 


Let  it  be  sung  with  clear  accent  to  the  time-names  and  to 
la;  then  the  teacher  will  change  the  measures  so  as  to  obtain 


the  following  rhythms.     Each  exercise  should  be  sung  to  th€' 
time-names,  to  la,  etc. 


Ex.34. 
Taa         Taa 

1         :1 


Taa 

:1 


Taa  -aa  Taa 

1         :-      :1 


ITaa 
ll 


Taa 

:1 


Taa 

:1 


Taa  -aa  Taa 

1        :-      :I 


6 


FIRST  STEP. 


Ex.35. 

Taa          Taa 

1         :1 

Taa 

:1 

ITaa 
ll 

-AA 

• 

Ex.  36. 

ITaa          -aa 

ll        :- 

Taa 

:1 

Taa 
1 

Taa 

:1 

Ex.  37. 

Taa          Taa 

:1          1 

Taa 

:1 

Taa 

:1 

1  Taa 
ll 

Ex.  38. 

Taa          Taa 

:1          1 

• 

Taa 

:1 

Taa 
1 

Ex.  39. 

Taa          Taa 

:1          1 

-AA 

• 

-AA 

• 

Taa 
1 

Taa 

:1 


-AA 


Taa 


Taa 
1 


Taa 
1 


Taa 


Taa 

:1 


Taa 

:1 


Taa 


—       :1 


:1 


Taa 


:1        :1 


-AA  Taa 


Taa 
1 


Taa 


Taa 


ITaa 
ll 


Taa 
1 


Taa 


-AA  Taa 
.1 


:1         :1 


-AA  Taa 


1        :-       :1 


1 


Taa 
1 


Taa 
:1 


Taa 

:1 


Taa 
1 


Taa  -aa 

1         :  — 


Taa  -aa 

1         :  — 


The  pnpils  are  now  prepared  to  talce  np  the  following  les- 
flons.  It  will  be  obRer\'ed  that  here  is  an  abundance  of  exer- 
cises, but  the  teacher  ninst  not  feel  compelled  to  dwell  upon  all 
that  are  here  given,  he  selectH  only  such  as  his  class  may  require. 
A  bright,  smart  class  may  sing  through  all  of  these  exercises  to 
ads  antage,  while  a  dull,  slow  class  will  positively  need  them. 

Two-part  Singing.— It  is  at  first  very  difficult  for  pupils 
to  sing  iiulependeutly  one  of  another.  The  simplest  form  of 
two-|)art  singing  is  that  in  which  one  division  of  the  class  re- 
peatedly strikes  the  same  tone  ("tolls  the  bell"),  while  another 
division  sings  the  tune,  as  in  exercises  40  to  42.  Each  part 
should  be  sung  separately  by  all  the  class  before  singing  the  two 
together.  These  early  exercises  are  best  suited  for  those  classes 
in  which  the  voices  are  all  of  the  same  sort,  that  is,  all  men's 
■voices,  or  else  all  women's  or  children's  voices.    If,  however,  the 


class  is  a  mixed  one,  the  ladies  may  take  one  part  and  the  gentle- 
men the  other,  or,  better  still,  half  the  gentlemen  and  half  the 
ladies  may  sing  each  part.  As  soon  as  an  exercise  is  sung,  it 
should  be  sung  over  again,  exchanging  the  parts. 

The  teacher  will  explain  that  Braces  are  used  both  at  the 
beginning  and  ending  of  lines  to  show  what  parts  of  the  musio 
may  bo  sung  together. 

The  teacher  may  explain  that  musio  is  naturally  divided 
into  short  portions  or  phrnses.  Just  before  beginning  a  phrase 
is,  mmicdlly  consklered,  the  best  i)lace  to  take  breath.  "Where 
words  are  sung,  the  breath  must  be  taken  with  reference  to  the 
sense  of  the  words.  More  on  this  subject  in  the  following  steps. 
The  dagger  (f)  shows  where  breath  may  be  taken. 

Exercises  40  to  4ti  consist  only  of  the  tones  d  m  s,  in  two- 
pulse  measure. 


Ex.  40.      KEY  D. 


d      :d 

s 

:s 

m 

d       :d 

d 

:d 

d 

Ex.   41.      KKl 

F. 

d      :- 

m 

t 

s 

d      :d 

d 

:d 

d 

Ex.  42.    KE 

rC. 

d      :d 

n 

:d 

8 

d      :  — 

d 

d 

n 


:d 


s       :  — 


:d 


:s 


:d 


PI 


n 


:d 


s* 


:d 


:d 


:d 


:8 


n 

n 

d 

• 
• 

s 

• 

d 

d 

:d 

d 

:d 

d 

:d 

d 

:d 

d 

n 

t 

m 

:n 

s 

:n 

8 

:8 

d 

d 

•       " 

d 

•   ... 

t 

d 

d 

:d 

d 

:d 


the  E^entle- 
itl  half  the 
ia  sung,  it 

both  at  the 
the  musio 

;iy  divided 
?  a  phrase 
1.  "Where 
nee  to  the 
iviug  steps. 

I  u,  in  two- 


:d 


:d 


FIRST  STEP. 


Ex. 

43. 

KEV  k. 

\ 

d       :d 

s 

:s 

m 

:  m 

s 

\ 

d       :d 

n 

:  n 

d 

:d 

n 

Ex.  44. 

KEY  D. 

\ 

d       :  m 

s 

:  n 

d 

m 

s 

i 

d       :- 

— 

> 

m 

— 

Ex.  45. 

KKY  F. 

^:s 

S 

:m 

d      ' 

n 

s       : 

— 

( 

;d 

d 



d 

d 

PI      : 

^ 

n 

:  n 

s 

:s 

n 

:8 

d 

d 

:d 

m 

:  m 

d 

:  m 

d 

s 
n 


n 


m 


s 
n 


PI 
s 


d 
d 


:-      i 


PI 

:pi 

PI 

:d 

m 

:s 

PI 

d 

:d 

d 

:  n 

s 

:  m 

d 

d 
d 


Ex.  46.     KEY  F,     JIiiv  hp  Kung  iis  11  Koimd  in  thren  pju'ts. 

t     *  + 


Jd       :d 

(  I  Day        has 


d 

gone, 


PI       :  m 

nitiht       i« 


n       :  — 

come, 


s       :  s 

Now      each 


s       :  s 

loved      one 


d       :d       Id 

wel     -    come    i  home. 


"When  the  first  division  reaches  the  note  under  the  asterisk  (*)  the  second  division  strikes  in  at  the  beginning;   the  third  divis- 
ion begins  wheii  the  second  has  reached  the  asterisk,  and  so  on. 

Exercises  4.7  to  ol  include  the  tones  d  n  s  d',  in  two-pulse  measure. 
Ex.  47.    KKY  D. 


d       :d 

PI 

:  PI 

s 

:  s 

PI 

d       :d 

d 

:d 

d 

:d 

d 

Ex.  48.     Ki: 

T   D. 

d       :  PI 

S 

:  PI 

s 

:  PI 

d' 

d       :d 

d 

:d 

d 

:d 

d 

Ex.  49.    KE 

rC. 

d      :  PI 

PI 

:s 

s 

:d' 

d' 

d       :- 

• 

PI 

• 
• 

^^_ 

t 


d' 
d 

d' 
d 

d' 


:d' 
:d 

:  s 
:d 


d 

PI 
d 


:  m 
:d 

:  s 
:d 

:  m 


Ex  50.      SET  C. 


d       -d 

m 

:  n 

s       :  s 

di 

:s 

d<      :s 

n 

d       :d 

d 

:d 

PI      :  PI 

PI 

:  n 

n      :  PI 

d 

Great    and 

good 

is 

God       our 

Fa    - 

ther. 

Great    and 

good. 

Trees    and 

birds 

and 

flow'ra    de   - 

clare 

Him 

Great    and 

good. 

s 
d 

PI 
d 

m 


:d 

:  PI 
:d 

:d 


d 
d 

d 
d 


:s 


d       :  PI 

great     and 
great     and 


d       :- 
d      :- 

good, 
good. 


10 


FIBST  STEP. 


lid'      : 

( I  Join 


Ex.  51     KEY  D.    Round  for  four  partH, 

T    * 

n       :8       Id'      :d"      Is        ts 

Hal    -    le    -   llu    -     jah!      I  Hal    -    le 


8 

in 


m      :d 

Hing  -   ing 


*  ^ 

is       :8      Is       :8       Is       :—     Is       :—    > 

I  Hal    -    le    -  |lu    -     jah.'      |A        -        -      -|  men.  ) 


t 


d       :—     Id       :  — 

A        ■      -      -I  men. 


(In      :_     In      :—     |n       :m      |m      :n       Id       :m      |8       :  m 

II  A        -        -     I  men,  |  Hal     -    le    -    |  In    -    jah!      |  Hal    -    le    -  j  hi    -     jah! 

Exercises  52  to  55  consiBt  of  the  tones  d  m  8  d'.  in  three-pulse  measure.      If  three-pnlse  measure  has  not  yet  been  taught  the., 
our  exercises  may  be  deferred. 


Ex.  52.    KEY  D. 


d    :d    :d 
d    :d    :d 


n    :  m   :  n 
d    :— :- 


d    :  m    :s 
n   :  m    :  m 


d' 
n 


f 


Ex.  53.      KKY  C. 


d    :d    :d 
d    :—  :d 


\ 


Ex.  54.      KEY  C- 


\ 


I 


d    :  PI    :d 
d    :-  :d 


s 
PI 


s    :  n    : 8    Id'   :  —  :  — 
n   : —  :  n     m    :—  :  — 


Ex.  55.     KEY  D. 


d   :n    :s 
d   :—  :  — 


s    :  PI  :d   i  n   : 


t 


:s 


.  __  • I  A      • •  — 


PI   :—  : 


d'   :d'  :d' 

s 

:s    :s 

d'    :  8    :  PI 

d    :— :  — 

PI    :pi  :pi 

PI 

■             • 

n    :8    :  PI 

d    :— :  — 

8    :s    :8 

d' 

:d'    :d' 

s     :s    :s 

d    :— •—  j 

PI   :  — :n 

m 

:—  :pi 

• 

d    :-:— 1 

s    :d'  :s 

PI 

:8    :pi 

d    :pi  :s 

tf   :— :  — 

n   :  — :n 

d 

:—  :d 

d    :—  :pi 

d    t—  :  — 

PI   :s    :d' 

d' 

:s    :pi 

s     :—  :  n 

d    :— :- 

PI   :  — :  — 

•            • 
1            • 

n    :—  :  — 

d    :— :  — 

Exercises  oo  to 

58  include  s,. 

Ex.  56. 

KEY  F. 

d       :m 

S 

:pi 

d 

:pi 

8 

d      :d 

S| 

:8| 

d 

:d 

8| 

Ex.  57. 

KEY  D. 

d       :  — 

PI 

• 

8 

:8 

d' 

d      :d 

S| 

:s, 

m 

• 
• 

d 

Ex.  58. 

KEY  G. 

'i 

■    :-' ..  ■' 

d       :  — 

8 

• 

PI 

• 
• 

d 

d       :- 

PI 

:  pi 

d 

:8i 

d 

n 
d 

d> 
P1 

8 

n 


:d 
:d 


n 


:tn 


iS 

I  PI 

8 

d 

h 
d 


:  n 

t  PI 


:  PI 


:d 


8 

d 
n 

8| 

S 

8i 


:s 


PI 


d 
d 

d 
d 

d 
d 


FIRST   STEP. 


11 


Half-pulse  Tones  may  now  be  taught,  or  if  the  teacher 
prokors,  they  may  be  transfered  to  the  next  step. 

f  he  following  lesson  may  be  written  on  the  board, 

|1  :1         |1         :1         |1  :1         |1         :1         || 

and  after  it  is  sung  correctly  the  teacher  may  say: 

I  will  sing  the  lesson  and  if  I  make  a  mistake  you  may 
say  wrong. 

He  may  sing  it  correctly  the  first  time;  with  wrong  accent 
the  second,  and  the  third  time  he  sin^s  two  tones  in  the  first 
pulse  of  the  second  measure  at  which  the  pupils  will  say 
wrong. 

Which  measure  was  wrong? 

Which  pulse  of  that  measure  ? 

How  many  tones  are  indicated  in  that  pulse  ? 

How  many  did  I  sing? 

Two  tones  sung  in  the  time  of  one  pulse  are  called 
Half-pulse  Tones  or  Halves, 

What  are  they  called  ?         , 


The  time-name  of  the  first  half  is  Taa — of  the  second 
half  Tai.  What  is  the  time-name  of  the  first  half? 
Second  half? 

The  sign  for  an  equally  divided  pulse  is  a  dot  in  the 
middle,  thus,  |    .    : 

The  teacher  changes  the  measures  to  obtain  the  following 
rhythms.  They  should  be  practiced  carefully— from  the  teacher's 
patterns  —to  the  time-measures — to  la,  etc. 

The  Finger  Signs  for  time  (Taa,  Taatai  and  Taa-aa) 
may  be  introduced  here  with  good  effect.  These  signs  are  gen- 
erally given  with  the  left  hand,  to  distinguish  them  from  the 
Hand  Signs  for  Tune,  which  are  chiefly  given  with  the  right. 
Of  course  the  teacher  may  use  his  right  hand  if  he  finds  it  easier. 
The  back  of  the  hand  is  toward  the  pupils,  and  the  thiimb  should 
not  be  seen,  for  we  never  divide  a  pulse  into  five  equal  parts. 
The  time  may  be  marked  either  by  blight  forward  and  backward 
movements  of  the  hand,  or  by  the  right  hand  tapping  the  pulses 
on  the  top  of  the  left  or  beating  time  in  the  regular  way  close 

by- 

The  Time  Chart  also  aflfords  a  most  excellent  means  for 
drilling  a  class  in  time.  It  is  to  Time  what  the  modulator  is  to 
Tune. 


Taa 

Taa 

Taa 

-    TAI 

Taa 

Taa 

Taa 

Taa 

-AA 

1 

?1 

I 

.1 

!l          ' 

1 

:1 

1 

• 
• 

Tax 

Taa 

Taa 

-    TAI 

Taa 

Taa 

-    TAI 

Taa 

-   TAX 

Taa 

-AA 

1 

J I 

^l 

A 

:1 

1 

.1 

:1 

.1 

1 

:  — 

d 

:  n 

•     , 

.  • 

:  n 

8 

.   8 

:  n 

.  n 

d 

— 

d 

.  t*   - 

in  ■ 

,9 

it 

n 

.  d 

:  s 

.  n 

d 

— 

Taa 

Taa 

*' 

Taa 

-    TAl 

Taa 

Taa 

-     TAX 

Taa 

-  tax 

Taa 

-     TAl 

Taa 

1 

a 

■I 

a 

tl 

1 

.1 

:1 

.1 

1 

.1        : 

1 

A 

:in 

il'  ' 

>  w 

u 

B 

.  n 

:  8 

.  m 

s 

.  m 

d 

d' 

if.    - 

i 

:.;§  - 

.  iM  ^  . 

d' 

.   B 

:  PI 

.  8 

8 

.  n 

d 

TAi 

Taa  - 

TAI 

Taa 

Taa  -  TAI 

Taa 

-     TAI 

Taa 

-    TAI 

Taa 

-AA 

1 

■',tl       ^ 

..I      :. 

II, 

:1       .1 

1 

.1 

:1 

.1 

1 

1 
i 



d 

:  n 

.  • 

d' 

:  B          .  n 

8 

.  n 

:  8 

.  m 

d 

:  — 

d 

'-•, 

•  •• 

d 

:  •,         .  n 

d 

.  d 

:», 

.  n 

d 

:  — 

Taa  -  TAI 

Taa 

Taa 

-    TAI 

Taa 

Taa 

-    TAl 

Taa 

■    TAI 

Taa  ■ 

TAI 

Taa 

1          .1 

K  >  F. 
».         .d 

:1 

id 

1 

.1 
.d 

:1 

id 

1 

■ 

.1 

.  n 

:1 

:  • 

.1 

.  n 

1 
d 

.1        : 

.d           : 

1 

a 

12 


FlIWT   STKI'. 


Taatai-ing  in  tune.  l>y  "tmitain'^'"  is  meant  siu>j;iug  an 
exercise  (on  one  tone)  to  the  tiiue-uameH,  just  as  "  Sol-fa-ing  "  is 
singing  to  the  Sol-la  syllablHS.  "Taataing  in  tune  "  is  singing 
the  tUne  to  the  timc-nann's.  Mr.  Curwen  says  "Ldahv}  on  one 
tone  helps  to  ibrm  that  nhslrnd  idea  oi'  a  rhythm  which  is  de- 
aired.  But  sueh  an  idea  is  n-'ver  truly  eslablishod  until  the  ear 
can  recognize  a  rhythm  as  the  sdin",  though  all  the  various  dis- 
guises which  different  tune-tbrius  put  upon  it.  To  learn  the  ah- 
Btract  you  must  reeotfuize  it  in  miu\ii  concretes.   •  •  •  A's  a  help 


^ 


to  this  diMtinct  conception  of  rhythm,  it  is  useful  to  tntUai  each 
time-exercise  on  various  tuno-formH." 

After  the  above  time-exercises  have  been  sung  to  the  timft- 
names  and  to  la,  let  them  be  sung  to  the  times  j^rinted  undei 
each,  and  lastly  let  the  tunes  lie  sung  to  the  time-names. 

Exercises  59  to  63  introduce  lialf-pulse  tones  in  two-pulsB 

measure.       Eacli  cxei'oi.ie  biiould  be  IwUaid  on  one  tone  tu  secure 
correct  rhvthui. 


Ex.  59.     lo.v  C, 


d       :d 

m 

:d 

8  .  s  :  m  .  s 

d'       :- 

d' .  s  :  PI .  8 

d'       :  PI 

s        :8 

d 

1 

• 

d       :d  .d 

d 

:d.d 

m  .  in  :  m  .  m 

PI        :  PI .  PI 

PI       :  m.  PI 

d       :d.d 

m.  PI  :s  .  s 

d 

• 

E.'c.  60.     K,  ,  0. 

d  .  PI :  m 

d. 

m 

:  m 

8        :s 

PI        :  — 

n.  s  :8 

PI  .  8  :s 

d>       :s 

d' 

• 

d       :d 

d 

:d 

d  .  n  ;  PI 

d        : 

n       :pi 

PI        :n 

PI .  8  :8 

PI 

• 
• 

Ex.  61.     KKv  D. 

d.d:d.  d 

m 

n 

:  m .  in 

s  .  m :d  .  m 

s         :—- 

PI .  p]  :  m  .  PI 

8  .  8  :s  .  s 

d* .  s  :  PI .  8 

d 

•    

• 

d  .  d  :  d  .  d 

d 

d 

:d.d 

PI .  PI :  PI .  PI 

s         :  — 

d  .  d  :d  .d 

PI  .  PI  :  m  .  n 

PI  .  PI :  PI .  PI 

d 

• 

Ex.  62.     Ki;v  G.     Round  in  four  parts. 


11 

I 

II 

II 
11 


d      .  d       :  d      .  d 

What      a  ciat     -    ler! 


d       . d       :d      .  d 

What's  the        mat    -    terl 


PI      .PI       :n      .PI        n       .pi      :pi      .pi 

John  -  ny's        gone      and      |  spilt       the         bat    -    ter 


8          .  S 

On          my 

:  8 

nice 

.  S 

new 

S 

clothes. 

:8| 

oh. 

s 

dear! 

:8, 

oh. 

S 

dear! 

• 

Ex.  63. 

d      :d 

Roam  -  ing 

KEY  G. 

S| 

0 

Round 

:s, 

ver 

in  four  parts. 

pi       :  — 

mead 

d       :- 

ows, 

* 
PI 

Sing 

:  m 

d 

ev 

:d 

er 

s       : 

gal 

—      m 
-     ly 

• 
• 

8          .  8* 

'I'ra         la 

:s 

la 

.  S 

la 

S 

la 

;8 

la. 

S 

Tra 

.  s 

la 

:s 

la 

.  8 

hi 

S 

la 

:s 

la. 

Modulator  Voluntaries- — At  every  lesson  the  teacher 
should  drill  the  class  in  following  his  pointing  on  the  Modulator, 
loilhoitl  a  pattern.  This  exercise  is  called  a  Voluntury.  The  pu- 
pils must  be  taught  to  follow  promptly,  and  to  hold  the  tones 
as  long  as  the  pointer  stays  on  a  note.  The  teacher  must  be 
careful  not  to  vary  from  the  "Step"  at  which  the  class  is  en- 
gaged ;  that  is,  in  the  first  step  he  must  use  only  the  tones  d  n 
■  d'  B, ;  in  the  second  step  he  may  use  the  tones  d  n  s  t  r  and 
their  replicates,  but  not  f  and  1.  It  is  a  good  plan  to  cover  all  the 
oyllables  not  required  by  pinning  paper  over  them.    The  teach- 


er must  follow  his  own  fancy  in  his  voluntaries,  taking  care  to 
adapt  them  to  the  capacity  of  his  chvss,  not  to  make  them  too 
difficult  nor  too  easy,  but  progressive  as  his  piipils  gain  faclity. 
He  should  make  them  as  beautiful  and  attractive  as  he  con,  in- 
troducing snatches  of  familiar  tunes  now  and  then;  and  above  all 
things  he  must  avoid  falling  into  self-repeating  habits,  that  is, 
constantly  repeating  favorite  phrases  which  the  pupils  come  to 
know  by  heart.  The  teacher  is  recommended  to  practice  his  vol- 
untaries at  home;  write  them  down,  if  necessary,  and  commit 
them  to  memory.     See  the  pamphlet  "Hints  for  Voluntaries. " 


FIRST  STEP. 


13 


Tho  Time  Chart  in  intendefl  to  be  HRetl  for  time-volun- 
Utries  in  the  same  wiiy  that  the  Modulivtor  in  uHed  for  tnnp-vol- 
uatiiries. 

The  Hand-Signs  iu  connection  with  mental  effects  are 
to  be  uflecl  at  every  leHson.  Thfi  Finrjer- Signs  for  Time  are  also 
couHiderod  very  useful  for  exerciHes  in  time. 


Mental  Effects  shonld  be  frequently  reviewed,  accom- 
panied with  fresh  illustrations.  It  is  only  in  this  way  the  impres- 
BJon  can  be  deepened.  The  perception  of  mental  effect  is  at  first 
very  dim,  but  it  is  cumulative  and  the  more  attention  Riven  to  it 
the  clearer  and  stronger  it  becomes.  See  pamphlet  "Studies in 
:^Iental  Effect." 

Ear  Exercises. — At  every  lesson  the  teacher  will  exer- 
<'iso  his  class  in  naming  the  tones  he  sings.  There  are  several 
ways  in  which  this  may  be  done.  First  way,  teacher  sings  sev- 
eral tones  to  figures  and  requires  the  pupil  to  tell  him  to  which 
figure  or  figures  he  sung  b  or  n  etc.  Tims,  "Tell  me  to  which 
figure  I  sing  s" — 

sings  d  n  n  8  d —  or  d  d  tn  d  s  m  d —  or  m  d  b  n  etc. 

13345  1234. 'i   67  1234 

"Tell  me  to  which  figure  I  sing  d" — 


sings  8  m  s  d  m 

12   3  4.') 


or  n  B  d 
1  2  3 


n  d  8  m  etc. 

4   .5  6   7 


The  same  process  is  given  to  other  tones.  Another  way,  the 
teacher  sings  the  tones  to  la  and  the  pupils  make  the  manual 
sign  for  the  tone  required.  Again,  the  teacher  gives  the  key- 
tone  and  chord  and  after  a  slight  pause  sings  to  la,  lo,  loo,  lai  or 
any  vowel  either  d  n  s  d'  or  s,  and  requires  the  pupils  to  tell 
him  what  tone  be  sung,  thus : — 

I  d       :  —    1 8       :  n      |  d       :  —   ?«       '  —    II     • 

loo 

Again,  the  teacher  sings  to  la  and  the  pupils  name  or  give  the 
hand  signs  for  all  the  tones.  Again,  the  teacher  sings  two  or 
three  or  four  or  more  tones  to  la,  as,  d  n  d  8,  etc.,  which  the  pu- 
pils repeat  after  him,  first  to  la,  then  to  the  Sol-fa  syllables. 
When  the  pupils  can  do  this  quite  readily  they  will  then  be  re- 
quired to  simply  give  the  names  without  singing  the  tones. 
The  teacher  may  then  sing  to  different  vowels,  as 


8 
le 


PI 
lo 


loi 


d 
la 


and  the  pupils  give  the  names. 

In  <ijne  ear-exercises  the  teacher  sings  two,  three  o*  four 
measures  on  one  tone  to  la,  and  requires  the  pupils  to  tell  him  the 
length  of  the  tones  in  each  measure,  or  they  may  Taatai  or  write 
what  the  teacher  sings.    Again  the  teacher  sol-fas  a  short  exer- 


cise which  the  pupils  taatni  in  ium.  It  is  a  great  advantage  when 
tho  answers  to  these  ear  exercises  can  be  written  bv  the  pupils 
and  aftcnvard  f>xamined  by  the  teacher  or  liis  assistants.  The 
answers  should  come  from  nil  the  juipils,  not  merely  from  a  few. 
See  pamphlet  "  Hintw  for  Ear  Exorcises." 

Writing  Exercises.  Notation  is  best  taught  by  writing, 
and  tiio  thing  imted  is  more  <iuiokly  and  easily  practiced  when 
the  notation  is  clear  and  tuiuiliiir  to  tho  mind.  Hence  the  value 
of  writing  exerc'isos.  The  teacher  instructs  his  pupils  to  draw 
on  slate  or  paper  four  (or  eight  or  sixteen)  measures  in  the  pri- 
mary (or  secondary)  form,  thus:  — 

I     :     I  :     I     :     I     :     I  ''tc,  or  :     |     :    |     :     |     :    |    || 

and  then  dictates  the  notes  to  be  written  in  each  pulse,  or  he 
may  write  them  on  the  blackboard  for  the  pupils  to  copy. 

Dictation.— The  time-names  furnish  a  means  of  dictating, 
by  very  brief  ordei-s,  o)tn  pulse  at  a  time,  "Accent"  "Time" 
and  "Tune"  at  once.  The  following  example  would  be  dictated 
thus:  "Prepare  four  two-pulse  measures,  secondary  form." 
"Taa  soh-one,"  ''TnxAdoh,"  "Twixi  me  doh."  "Tkaa'.s-  h-one," 
"Taa  doh,"  "Tkaat.vi  me  doli."  "Taa  soh,"  "Thaa  dnh." 


:d 


n  .  d  :  s 


Pointing  from  Memory.— At-tho  close  of  ouch  lesson 
the  pupils  should  take  pride  in  showing  their  tea(!lier  how  many 
of  the  previous  exercises  they  can  point  on  tho  Modulator  anil 
Sol-fa  from  memory,  ilusittal  memory  should  be  cultivated 
from  the  first,  because  it  will  greatly  facilitate  tho  progress  ol 
the  pupil  in  future  stops,  and  will  be  of  constant  service  in  af- 
ter life.  To  encourage  this  exercise  the  pupils  should  be  provi- 
ded  with  small  modulators  upon  which  they  can  practice  point- 
ing at  home.  Where  it  is  feasible  the  whole  class  should  be  sup- 
plied with  "Hand  Modulators"  and  point  and  sing  together, 
holding  their  modulators  in  such  way  that  the  teacher  can  over- 
look all. 

Writing  from  Memory.— Pupils  should  also  be  well 
practiced  in  writing  tunes  from  memory.  Even  where  it  is  diflS- 
cult  for  a  whole  class  to  point  on  their  modulators  from  memory 
at  the  same  moment,  so  as  to  be  seen  by  the  teacher,  it  is  not 
difficult  to  engage  a  whole  class  at  the  same  moment  in  writing 
from  memory  the  tunes  they  have  learned.  At  the  close  of  every 
lesson,  one  or  two  of  the  exercises  should  be  chosen  for  the 
memory  exercise  of  the  next  meeting.  The  pupil  (at  home) 
should  copy  that  exercise  six  or  ten  times  from  the  book,  until 
he  finds  by  testing  himself  that  ho  can  write  it  from  memory. 

Keep  within  the  Step.—The  teacher  must  fully  under- 
stand that  in  all  these  exercises  he  must  keep  within  the  step  at 
which  the  class  is  engaged.  All  the  topics  of  the  step  should  be 
mastered  before  the  next  step  is  entered.  For  instructions  in 
Voice  Training,  Breathing  etc.,  belonging  to  this  Step  the  teacher 
will  consult  the  Standard  Course. 


14 


FIRST   STEl'. 
QUESTIONS  FOR  WRITTEN  OR  ORAL  EXAMINATION. 


DOCTIUNE. 


1  Wlmt  ai'e  the  first  three  tone*  you  lu»vo  loarned 
thiiH  furl 

t.  Wliiub  of  thnHe  if)  t)io  lowest  touef  Thu  iioxt 
liif{liurt    T)i«  lilKbiiHtf 

3  Which  in  thn  more  iinportniit,  the  relative  po- 
sition of  IhoHe  t4)iieH  or  tlieir  mental  etlVclst 

4.  AVluit  is  tlie  montnl  effect  of  Doh  t  Of  Mef 
Of  Soh  I 

5  How  are  these  uieutal  effeetH  reproHenteil  to 
the  eyel 

6.  BesitleH  tJie  liaiut-si^is  and  the  iiioilulator  wliat 

otlicr  way  Imvo  we  of  inilicatins  or  wrilinj; 
the  tones  ? 

7.  What  U'tt(;r  ro))re8ent«  Z>o/i?    Mel    Sohf 

tj.  Wliati8thi»(metlioil  of  musical  iiotatiou  called? 
9.   What  other  tones  have  you  learned  i)Osi(lo  doh, 
ine,  »oh  f 

10.  What  is  tlie  meiitiil  etfect  of  une-dohl 

11.  Wliat  is  its  liandsijin  \ 

Vi.  How  is  it  iuiliouteil  iu  lliu  notatiou  \ 


Wliat  is  tlie  mental  effect  of  noh-OM  t 

What  is  its  liand-sipnf 

How  is  it  indicated  in  tlio  notation  < 

How  is  time  in  iniLsic measured? 

How  many  kinds  of  accents  have  you  learned ! 

What  is  tlio  time  from  one  strong  accent  to  the 
next  stmui;  accent  called? 

What  is  tliu  time  from  any  accent  to  the  next 
calle.U 

Is  tliero  hut  one  order  of  arrancfinont  of  ac- 
cents or  may  there  lie  different  urrauso- 
ments? 

What  do  <liireront  arraugomouts  of  accents 
produuo? 

How  many  kinfis  of  measure  have  you  learned 
and  wliat  are  they? 

Wliat  is  the  order  of  accents  in  two-pulse 
measure*    Three-pulse  measure? 

When  is  a  lueasuru  in  its  primary  form  ?  Sec- 
ondary I 


29.  How  is  the  stronenccent  imlicated  in  the  no 

tation  /    Tlin  weak  accent  I 
20.  Wliat  represents  the  time  of  a  pulse?    Of  a 
measure? 

27.  AV'hat  is  the  time-name  of  none  pulse  tone? 

'28.  How  is  tlie  strong  accent  indicated  in  the  tiine- 

naiiies  / 

•29.  When  a  tone  is  continued  from  one  pulse  into 
tlie  next,  how  is  the  crjitiniiation  marked? 

30.  How  are  the  time-names  for  continuations  ob- 

tained? 

31.  When  two  tones  are  siini:  in  the  time  of  one 

pulse,  what  are  they  called? 
.32.  What  is  tlie  time-name  of  the  first  halt"  of  a 
pulse?    The  second? 

33.  How  are  balf-pulso  tones  indicated  in  the  no- 

tation ? 

34,  How  is  the  end  of  an  exercise  indicated  f 


PRACTICE. 


3.'i.  Sliiir  to  ?(T  the  Soh  to  any  Doh  the  teacher  givea. 

36.  Sing  in  the  same  manner  the  Soh-one. 

37.  Sing  in  the  same  manner  the  One-Doh. 

38.  Sing  iu  the  same  manner  the  Jfe. 

3it.  Sing  in  the  same  manner  Soh  to  any  One-Doh 
the  te.acher  gives. 

40.  Sing  iu  the  same  manner  the  JIfe. 

41.  Sing  in  the  same  manner  the  Doh. 

42.  Xaatai  the  iipjier  part  in  one  of  the  Uxs.  59, 

60,  or  61. 


43.  Taatai  in  tune  one  of  the  Exs.  50,  60,  or  til,  but 

not  the  same  as  in   the  last  requirement, 
chosen  by  the  teacher. 

44.  Point  on  the  modulator  from  memory  anv  one 

of  the  Exs.  50,  51, 52, 54,  56, 58,  chosen  by  the 
teacher. 

45.  Write  from  memory  another  of  these  exercises. 

46.  From  any  phrase  (belonging  to  this  step),  sung 

to  figures,  tell  your  teacher,  or  write  down, 
which  figure  was  sung  to  Me. 


47.  Ditto  Soh. 

48.  IJitto  Doh. 

49.  Ditto  Soh, . 

50.  Having  beai-d  the  chord,  tell  or  write  down 

which  tone  waa  sung  to  la. 

51 .  Follow  the  teacher's  pointing  on  the  modulatoi 

in  a  now  voluntary,  containing  Doh,  Me,  Soh. 
Doh^,  and  Soh,,  'I*aa,  Taa-aa  and  Taatai. 

52.  Write  from  dictation  and  afterwards  sing  a 

similar  exercise. 


KEY  D.    Round  in  four  part.s. 


Ess  ET  Ykw. 


II 
II 


11 


d      .d 

Now      the 

:d      .d 

Sec     -    ond 

n 

step 

.  m 

is 

:  m 

com 

* 

Don't    be 

:  m       .m 

frightened. 

S 

keep 

.  S 

your 

:  s 

cour 

S 

C<nir 

• 
• 

• 

d'     .di 

Well     be 


d' 

gun. 


d'     .  d'      :  d' 

ev    -     erv         one, 


.  n 


age. 


S  .  S 

read    -   v 


:  s 

ev 


n 

Cour 

d      .d 

Soon       it 


:d 

will 


.  S 

erv 


d'     .d>      :d'      .d' 

Soon  it        will        be 


.d 

he 


S 

one, 

d< 

done; 

m 

age, 

d 

done. 


, 


16 


SECOND  STEP. 


In  (ulditiivi  to  the  tonex  d,  n,  s,  d'  and  a,  to  recognize,  and  produce  Ray  and  Te,  To  distinguish  and  produce  the  medium  accent  ami  th« 
four-pulse  and  six-pulse  measures.  The  whole-p\Use  silence,  half-pulse  tones  in  utree-pulse  measure,  puise^nd-Orhaif-tones  and  quarter-pulse 
tones  in  their  simplest  forms. 


To  introdxico  Ray  and  7'e  the  teachor  may  proceed  Bomewhat 
.13  follows.  After  reviewing  the  tones  already  tauf^ht,  and  a  short 
drill  from  the  Modulator  or  hand-signs,  he  may  say: — 

Xanie  the  tones  I  sing  and  if  1  sing  a  different  tone 
from  tlwse  you  have  learned,  one  that  is  not  d,  n,  or  8,  you 
may  say  new  tone. 

The  teacher  sings  the  tones  to  la,  pupils  calling  out  "Doh," 
"Soh  "  and  so  on,  and  after  keeping  them  a  moment  or  two  in 
expectation  he  sings  /la;/,  the  second  tone  of  the  scale,  (of  course 
to  to)  which  the  pupils  at  once  detect  as  a  new  tone. 

Is  the  new  tone  higher  or  lower  than  Doh  ? 

Is  it  higher  or  low^-  tlian  Me  ? 

If  the  answers  are  i  i,  prompt  and  coiTectthe  exercise  must 
be  repeated. 

The  name  of  the  new  tone  is  Bay. 

He  writes  it  on  the  board  or  shows  it  on  the  Modulator. 

As  we  have  an  upper  Doh  so  also  we  can  have  an  up- 
per Bay,  and  there  is  also  an  npper  Me  and  an  upper  Soh. 
They  are  called  one-Bay,  one-Me  and  one-Soh. 

He  writes  them  on  the  board  or  shows  them 
on  the  modulator. 

Name  the  tones  again  and  if  I  sing  a  tone 
you  have  not  hem-d  'n'fore,  say  New-tone. 

He  sings  the  tones  to  la  as  before,  pupils  call- 
ing out  the  names,  and  after  a  moment  or  two  he 
sings  Te,  the  seventh  tone  of  the  scale.  He  ques- 
tions the  class  as  to  the  position  of  the  new  tone, 
writes  its  name  on  the  board  or  shows  it  on  the 
modulator,  and  also  its  lower  octave.  See  diagram. 
He  then  patterns  and  points  on  the  modulator 
fluch  exercises  as  these — 


Ex.  63.      KEY  C. 

{|d:n|s:— |s:t|ri:— |r':t!8:dils:m|d:— II 

Ex.  64.     KK\  F. 

{|  d  :  n  I  s  :  n  1 8|  :  t,  I  r  :  t|  I  s, :  s  I  n  :  8  I  d  :  — II 

Ex.  65.    KKv  A. 

{|  d  :  m  I  d  :  8,  |t,  :  r  1 1, :  8| !  d  :  8, 1  n  :  S|  I  d  :  — II 

Ex.  66.    KKV  F. 

{|8  :n  Id  :  njs  :r  |t,  :r  is  tmis  :8,  |d:— |l 

Ex.  67.    K  ^  U. 

'l|in:d|m:s  |r  :t,  rislmrsr  :s|d:-|| 


s' 

DOH' 
TE 


SOH 

ME 
BAY 

DOH 

t, 


, 


The  teacher  next  brings  up  in  review  the  mental  effects  of 
doh,  me  and  soh,  and  then  proceeds  to  dovelope  the  mental  ef- 
fects of  ray  and  te,  somewhat  as  follows. 

Now  give  your  attention  to  the  mental  effect  of  ray  in 
the  examples  I  shall  sing,  and  notice  first  whether  ray 
gives  a  feeling  of  rest,  of  satisfaction,  or  whether  rt  is  the 
reverse  of  that,  is  restless,  expectant,  imsatisfied. 

Teacher  sings  in  any  key  suited  to  his  voice,  the  following 
exercises,  making  a  slight  pause  before  the  last  tone. 


n   :s 


/Tv 


Id'  : 

All  sing  it. — 

Are  you  satisfied  to  stop  on  tlint  tone  or  -io  you  ex- 
pect something  else  ? 


Listen  again. 
Teacher  sings. 

|d>  :s 


m   :s    Id'   :r' 


I  Tp,' 


All  sing  the  same. — 

Is  that  as  satisfactory  as  the  former  or  more  so? 

Listen  again. 

Teacher  sings. 

I  d'  :  8    1  m   :  s    !  m'  :  r'  fr'   :  —  !l      : 

All  sing  it. — 
Satisfactory  or  expectant? 
Listen  again. 
Teacher  sings. 

I  d'  :  8    1  n   :  3    I  tn'  :  r'  fd'  :  —  II 

All  sing  it. — 

Satisfactory  or  expectant? 

You  learn  from  these  examples  that  ray  is  a  restless, 
moving,  expectant  tone,  that  it  leans  upon  doh  or  me. 
But  listen  again  and  notice  whether  it  has  a  depressing, 
desponding,  hopeless  effect,  or  whether  it  is  hopeful,  rous- 
ing, animating. 

Teacher  sings  the  following,  which  the  pupils  may  repeat. 


d' 


8  .  d'  I  r'       :  m' .  r'  I  d' 


:8.d'  Ir'        :d'.t 

What  is  its  effect,  depressing  and  hopeless,  or  hopeful, 
rousing,  animating? 


WKm 


•viMiinpiiiiPMIill 


16 


SECOND  STEP. 


It  will  be  well  to  Ring  the  exercibe  again,  substituting  doh 
for  rut/,  thuH, 

rs.dMd'        :d'.t  Id'        :8.d'  !d'       :n'.d'|d'        || 

aud  again  with  ray  as  at  first;  this  will  produce  a  contrast  that 
will  mako  my  stand  out  very  clearly.  The  following  examples 
will  illustrate  the  mental  efifect  of  te.  The  teacher  may  use  them 
in  his  own  way,  to  show  that  le  is  a  restless  tone,  with  an  intense 
lonping  fjr  doh,  an  urgent,  sharp,  sensitive  piercing  effect. 


d  :  m  1 3    :  d'  !  t 


d'  :- 


:  d'  i  s  :  n    ;  r    :  t    1 1    :  —  i  d'  1| 

In  the  following  oxeroise  m  and  s  are  substituted  for  t  to 
produce  a  contrast. 

:  d'  I  s    :  m    !  r    :  m  i  m   :  —  t  d'  || 

Sin"  it  amiin  with  t  and  then  as  follows— 


:  d'  1  s    :  PI    ! 
and  tinallv  witli  t  as  uliove. 


S 


d' 


The  manual  sign  for  the  rousing,  hopeful  tone  is  this. — 
All  make  it — . 

The  sign  for  the  sensitive,  piercing  tone  is  this  — , 
pointmg  up  to  doh,  the  tone  to  which  it  so  strongly  leans. 
All  make  it — . 

The  teacher  now  proceeds  to  drill  the  class  thorouE;hly  in 
the  new  tones  by  means  of  the  modulator,  hand-signs,  ear  ex- 
ercises, etc.,  during  which  practice  he  will  have  the  tones  d  m 
8  sung  together  as  a  chord. 

This  may  be  done  by  dividing  the  class  into  three  sections, 
one  section  to  sing  doh,  another  me,  and  another  soh.  First  let 
doh  and  soh  be  sung  together,  then  (io/i  and  me ;  then  ms  and 
soh,  and  then  doh,  me  and  soh  all  at  once.  The  tcache»»will  ex- 
plain that  when  tones  are  combined  in  this  way,  the  combination 
is  called  a  chord.  This  particular  chord,  formed  of  the  tones  of 
d  n  8  is  called  tb  chord  of  DOH,  or  Tonic  Chord.  The 
chord  of  DOH  may  be  taught  in  the  first  step,  if  the  teacher 
prefers.  The  tones  8  t  r*  should  next  be  combined  in  the 
same  way.  They  form  the  chord  of  SOH,  or  Dominant  Chord. 
The  class  is  now  prepared  to  take  up  the  :;tudy  of  the  following 
exercises. 


K\   68.     Kiiv  F.     1  ound  for  two  parts. 


(Id       :  d 

/  I  On     -     ward 


PI 

to 


d 

the 


:  s 


lent      I  riv 


(In      :  m      Id       :  m      In      :  m 

(  I  Men       and     |  mai    -   dens     |  won  -   der 


ilx.  69.     KKv  F.    l\ound  for  three  parts. 


(Id 

]  I  Af 


:d 

ter 


stu 


:  m 

dy 


r 

we 


n 


s 

ev 


t 

:d      It, 

er,       I  Day 

t 

r 


:  m 

er, 


:  s 

shall 


imd 


Old        and 


find, 


d       :  m 

night      we 

n      :  d 

young    idl 
t    * 

n 

Mu    - 


r       :r 

wend     our 

t|         :  t| 
pass        a    ' 


PI 

sic 


r 

will 


d 

way; 

d 

WHY. 


/ 


:d 

re 


.} 


(It, 
(  I  lieve 


the 


d 

mind, 


'—  8 


.\nd 


S 

our 


t, 
hearts 


:d 

to 


8| 

goth 


8| 
•  r 


d 

bind. 


«     S 


Ex.  70.     KKY  6.     lii'und  for  four  parts. 

t 

d       :d 


I » ri.:-.-: 


>i 


:s. 


Siot   -   lands  I  V)urn  -   iug,      |  Scot    -  lauds  |  burn   -  ing,      I  Look 


:d 


* 

r       :  — 


t  t 

8       :  —     Is       :  —     Is 

Fire!  I  Fire!  I  Fire! 


t 


t|   :r 

Pour  on 


n 

out. 


r 

Look 


t 


d   :d   |t|   :r 

wa  -  ter,   I  pour   on 


n 

• 

out, 

d 

:d 

Wli 

-     ter 

I'.A-  7L     KKV  6.     Round  for  four  parts. 


( 

8| 

:8| 
us 

:8, 

en 

d 

deav 

:d 

or 

:d 

To 

S 

join 

:s 

in 

:s 

u 

S 

sonK, 

:  PI 

Wo 

:d 

can 

* 

r  :r 

show,  that 

ti  :t| 

keep  time 


:r 

when 

:t, 

to     - 


n 

ev 


:  PI 

-    er 


d         :d 

geth    -     er, 


:  PI 
We 

:d 

Tea. 


e  is  this. — 

is  this  — , 
)ugly  leans. 


oronirhly  in 
gns,  eiir  ex- 
tones  d    n> 

ee  HectionR, 
i.  First  let 
then  77ie  and 
beB»will  ex- 
jombination 
the  tones  of 
herd.  The 
the  teacher 
ned  in  the 
nant  Chord. 
18  following 


—        / 


re    -    -    ) 


:d 

ter. 


n 

We 

d 

Tes. 


SECOND  STEP. 


17 


Ex.72.     Ki     D.    Round  for  three  partR. 


(Id  :  t, 

/  I  "Here        I 

1 1  d  :  t| 

I  I  down  be 


d 

go, 


t  * 


r 

sure 


:r 

and 


Id 

-  I  low. 


•  "■"'  IS     •  s      .  s 

I  "Not  so       I, 


PI 

Blow,' 


s    .d'  :n 

Mwittly       By," 


m         :  r         J  n 

Says  the  ( tui 


s    .s    :s    .3    id' 

Sin,L!H  the  bird    on    |  high. 


A.  L.  a 
:d 

-     tie 


Kx.  73.     KKY  C.     Hound  in  four  parts. 


T.  F.  S. 


S  .S 

Hur  -  ry 


now, 


8 

.8 

:r 

linr 

-   ry 

now, 

t 

• 
• 

no, 

>id' 

(  I  No. 


Tuning  Exei'cises  are  designed  forthe  purpose  of  teach- 
ing voices  singing  different  parts  to  stuth/  one  another,  and  to  chord 
well  together.  To  some  extent  this  is  done  in  every  exercise, 
but  it  requires  also  separate  study.  The  teacher,  in  these  exer- 
cises endeavors  to  secure  from  the  class  a  uniformly  clear,  s/^ft 
tone — making  a  signal  to  any  one  whose  voice  is  so  prominent 
as  to  stand  out  from  the  rest,— and  to  maintain  the  perfect  tun- 
inij  into  edi'.h  other  of  all  the  parts  of  the  chord.  For  soiue  time 
the  accord  of  the  voices  will  be  very  rough  and  imperfect,  but 
soft  s'vKjinrf  and  listening  will  amend  the  fault.  The  exercises 
may  be  sung  from  the  book,  but  a  better  plan  is  to  sing  them 
from  the  blackboard,  as  in  thif  way  n  correct  position  of  the 
pupil  is  secured,  and  the  teacher  can  readily  call  the  attention 
of  all,  in  a  moment,  to  any  point  in  the  exercise.    They  may  be 


m      .  m 

Come    ft 

d' 

Wait 


:d 

long, 

:s 

a 


r      .8 

Wont    you 

8 

while. 


:s 

hur 


.S 
ry? 


sung  as  follows— By  three  sections  of  women's  voices,  onu  sec- 
tion singing  the  first  part,  another  the  second  and  another  the 
third.  When  moderately  well  done,  the  jiarts  should  be  ex- 
changed, those  who  sang  the  tii-st  part  taking  the  second,  the 
second  taking  the  third  and  the  third  the  i\Y^-\.  At  the  next 
change  the  same  process  is  repeated.  The  exercises  may  then 
be  sung  in  the  same  manner  by  three  sections  of  men's 
voices.  Boys  whose  voices  have  not  changed  will  sing  with  th 
women.  Again,  let  all  the  men  sing  tlie  third  part,  and  two 
sections  of  women  take  the  first  and  seconchngain,  ail  the  women 
sing  the  first  part,  and  the  men  in  two  sections  taking  the  sec- 
ond and  third.  Again,  all  the  women  sing  the  second  part,  and 
the  men  in  two  sections  the  first  and  third. 

To  be  sung  first  to  the  sol-fa  syllables,  then  to  la  and  to  loo. 


£x.  74. 

KE.s  F  and  G. 

TUNING  EXERCISES 

1st 

s 

— 

m     :  — 

s      :  — 

m 

:  s 

s 

:  — 

2d. 

v\     \  — 

n 

:  m 

d      : 

n 

d 

:  n 

m 

3d. 

d      :  — 

—    :  — 

d 

d 

d      : 

d 

:  S| 

d 

For  the  follow' ng  exercises  in  four  parts  the  class  should  be 
divided  into  four  sections,  two  sections  of  ladies  taking  the  two 
upper  parts  and  two  nectjons  of  gentlemen  taking  the  two  lower 

Ex.   76.      KEY  C. 

Sing  first  an  wiitten,  Secon<l  time.  Soprano  and  T<in(>.  change 
pnrtH.  'Chinl  time,  Soprano  and  Contralto  chuni^e  partM,  Contralto  ttxngr 
lug  d  t,  d  lu8t«a<l  of  d'  t  d  . 


parts.  This  division  of  the  voices  must  not  be  considered  as  & 
final  classification  unto  Soprano,  Contralto,  Tenor  and  Base. 
That  will  come  later  in  the  course. 

Ex.  76.    KEY  F. 

First  as  wTitt«n.  Second  time.  Soprano  take  Tenor,  Tenor  take  Con- 
tralto, itinsing  8  InHtcnil  (\r  ^,  Contralt4i  take  Sopiiiiio.  Third  time,  So- 
prano and  Contralto  cliiince  parts.  Soprano  ttiniiin;;  ■  intteml  of  i,. 


d:- 

8  :  m 

d  :- 

d':~ 

d':t 

d':- 

/ 

d:- 

8|  :  n 

d  :- 

d  :- 

d  :t, 

d:- 

d:- 

8  :  m 

d  :- 

in  :  — 

—  :  — 

— :  — 

in:r 

n:  — 

\ 

d:- 

8|  :  PI 

d  :- 

8,  :— 

; 

8, :  8, 

8,  :  — 

d:- 

8  :  m 

d  :- 

8  :  — 

— :  — 

8  :8 

8  :  — 

) 

d:- 

8|  :  PI 

d  :- 

P«  :  — 

— :  — 

; 

n  :r 

Pi:  — 

d:- 

8  :  m 

d  :- 

— :  — 

— :  — 

— :  — 

8  :8 

d:- 

\ 

d:- 

8|  :  m 

d  :- 

— :  — 

— :  — 

—  :  — 

8,:  8, 

d=-k 

.JIl)l,<J,MIUUU.I. 


mmmmmmm 


IS 


SECOND   STEP, 


Ex.  77.      KEY  C. 

Vint  M  written.  Second  time,  Soprano  and  Tenor  change  parts. 
Third  time,  Soprano  take  Contralto — Contralto  take  Tenor,  Hinging  t,  in- 
stead of  t — Tenor  take  Soprano. 


Ex.  78.    KEY  F. 

First  M  written.  Second  tlmo.  Soprano  take  Tenor— Tenor  take 
Contralto,  singing  s  instead  of  s,,  Contralto  take  Soprano.  Third  time. 
Soprano  and  Contralto  change  parts.  Soprano  singing  s  instead  of  s, 


d:- 

n  :d 

s  :  — 

s   :  — 

8  :s 

8  :  — 

/ 

d:- 

n 

:d 

3,  :  — 

t,  :- 

— :  — 

— :  — 

d:t, 

d:- 

d:- 

n  :d 

8  :  — 

r  :  — 

— :  — 

R  :r 

m  :  — 

1 

d  :- 

tn 

:d 

s,  :  — 

s,  :  — 

8,  :S| 

8,  :- 

d:- 

m  :  d 

s  :  — 

t    :- 

— :  — 

— :  — 

di:t 

d':- 

d  :  - 

m 

:d 

S|  :  — 

r   :  — 

— :  — 

m  :r 

n  :  — 

d:- 

m  :  d 

8  :  — 

— :  — 

— :  — 

— :  — 

s  :s, 

d  :- 

\ 

1  : 

m 

:d 

3,  :  — 

— :  — 

— :  — 

— :  — 

8,  :8, 

d  :- 

Ex.  79.    KEY  G. 


8,   :  — 

S| 

:d 

m    :   - 

m   :  - 

m 

:  m 

s 

:  m 

r    :  — 

s,    :  - 

S| 

:t, 

r    :  — 

r    :  — 

m 

:d 

d 

:t, 

d 

— 

8,   :  — 

S| 

:d 

PI   :  — 

d    :  - 

d 

:d 

d 

:d 

t,    :- 

8,    :- 

S| 

:t, 

r    :  — 

t,    :- 

d 

:s, 

Si 

:8, 

S| 

— 

S|   :  — 

S| 

:d 

m   :  — 

8    :  — 

8 

:8 

s 

:8 

3    :  — 

8|    :  — 

S| 

:t, 

r    :  — 

s    :  — 

8 

:  n 

m 

:r 

m 

— 

8,   :  — 

S| 

:d 

m   :  — 

d    :- 

d 

:d 

m 

:d 

3,    :  — 

3,    :- 

3| 

:t, 

r    :  — 

8,    :  — 

d 

:d 

S| 

:s, 

d 

— 

Breathing  Places. — It  waa  fciugbt  iu  the  first  step  thut 
.'lie  best  ])la('e.s  to  take  breath,  miisicalli/  considered,  are  at  the  be- 
"oeginuiuf;  of  the  musical  phrases.  But  the  sense  of  the  words  is 
of  more  importance  than  musical  phrasiug.  It  frequently  hap- 
pens that  the  phrasing  of  the  words  and  phrasing  of  the  music 
do  not  agree.  In  such  cases  breath  must  be  taken  where  it  will 
not  destroy  the  sense  of  the  words.  In  the  following  example 
the  musical  phrasing  would  allow  a  breath  to  be  taken  at  the  dag- 
ger (t)  and  this  would  suit  the  first  verse;  but  it  would  not  do 
for  the  second  verse:  and  the  breathing  places  neither  of  the  first 
nor  second  verses  would  iiuswer  for  the  third. 


,  d 
O 

er 


KEY  G. 

d          :8, 

8, 

d 

X.  Light    of 

the 

world 

3.  Son       of 

the 

Fath 

3.  Je    •    sua 

is 

from 

r 

:t, 

d 

Sav    - 

ioiir 

dear! 

Lord 

most 

high. 

the  proud       con  - 


cealed. 


To  take  breath  before  a  strong  pulse  the  time  of  the  breath 
must  be  taken  from  the  end  of  the  previous  weak  pulse;  to  take 
breath  before  a  weak  pulse  the  time  of  it  may  be  taken  from  the 
beginning  of  the  same  pulse.  It  is  not  only  convenient  but  ne- 
cessary to  take  breath  before  all  long  sustained  tones  or  long  con- 
inected  phrases. 


It  is  recommended  that  before  singing  the  words  of  a  time 
they  should  be  studied  separately.  The  teacher  may  read  the 
portion  of  words  from  one  breathing  place  to  another,  which  the 
pupils  are  to  repeat  after  him  and  mark  the  breathing  place  with 
pencil.  In  this  exercise  particular  attention  should  be  given  to 
pronunciation;  the  vowels  should  be  clear  and  pure  and  the  con- 
sonants sharp  and  distinct. 


Expression  is  such  a  use  of  loudness  and  softness  in  sing- 
ing as  tends  to  make  the  music  more  expressive.  Even  in  the  earli- 
est steps,  pupils  eujoy  thus  embellishin'j;  their  music.  In  the 
fifth  step  the  subject  is  treated  more  fully.  Here  it  is  enough  to 
draw  attention  occasionally  to  what  is  indeed  the  chief  part  of  ex- 
pression— that  which  is  suggested  by  the  words.  First  there 
must  be  fixed  the  medium  or  normal  degree  of  force  proper  to 
the  general  sentiment  of  the  piece" — then  whatever  words  are  print- 
ed in  the  common  type  are  to  be  sungwith  that  appropriate  medi- 
um force,  whatever  words  are  printed  in  small  capitals  are  to  be 
snug  louder,  and  whatever  words  are  printed  in  italics  are  to  be 
sung  more  softly.  Many  of  the  pieces  in  this  book  are  left  to  be 
marked  by  the  pupils  under  the  direction  of  the  teacher.  A  sin- 
gle line  drawn  uuder  the  words  by  pen  or  pencil  will  indicate 
italics,  and  a  double  line  small  capitals. 


Ex.  80.     Ki;v  F.     Koiuid  tor  two  parts. 


{\ 


d      :r 

Let        us 


m       :  r 

sing        a 


d       :  m 

mer  -    ry 


S 

song. 


PI       :r 

While    we 


d 

gai 


S 

Iv 


m     :r 

march   a 


d 

long. 


^1 


d      :tt      Id       :t|      |d.d:d 

Left,      light,    jlfft.        right.    I  Hteadi  -  ly. 


stead i  -  ly, 


d 

Left, 


right, 


d 

left. 


right, 


d      :S| 

Maivh  a 


d 

long. 


'Tenor  tak« 
Third  time, 
lof  s, 


tl 

d 

— 

'i 

S| 

— 

r 

n 

. — 

3| 

d 

:  — 

d 

S| 

n 
d 


1  of  !i  tune 
,y  read  the 
which  the 
place  with 
be  given  to 
id  the  con- 


ess  in  sing- 
in  the  earl  i- 
c.     In  the 

enough  to 
'  part  of  ex- 
First  there 

proper  to 
8  are  print- 
riate  medi- 
liS  are  to  be 
's  are  to  be 
e  left  to  be 
er.  A  sin- 
ill  indicate 


1 


Ex.   81.      KEY  G. 


SECOND  STEP. 


SWELL  THE  ANTHEM. 


19 


d       :d 

d 

:8| 

d 

:m 

s 

s,       :s, 

S| 

:n, 

S| 

:d 

ti 

1.  Swell  the 

an    - 

them, 

raise 

the 

song; 

2.  Hark!  the 

voice 

of 

na    - 

ture 

sings 

n      :  n 

n 

:d 

S 

:  PI 

r 

d       :d 

d 

:d 

n 

:d 

Sl 

d       :d 

d 

:si 

d 

:  PI 

s 

S|       :8| 

Sl 

:pi, 

S| 

:d 

t, 

Saints    and 

an    - 

gels 

join 

to 

sing 

Let         us 

join 

the 

chor 

-    al 

song, 

m      :  PI 

PI 

:d 

S 

:  PI 

r 

d       :d 

d 

:d 

PI 

:d 

S| 

s       :s 

8 

:  m 

r 

:d 

t. 

t,       :t, 

Prais  -  68 
Prais  -  68 

d 

to 
to 

:d 

our 
the 

t, 

God 
King 

:d 

be    - 
of 

S| 

long: 
kings  I 

r       :  r 

n 

:s 

S 

:  n 

r 

Si       :s, 

d 

:d 

S| 

:si 

S| 

s       :s 

s 

:  PI 

r 

:r       1 

d 

t|       :t| 

Pniis  -    es 
And        the 

d 

to 

gratt^ 

:d 

the 
-   ful 

d       :t, 

heav'n  - 1  y 
notes      pro    - 

d 

King, 
long. 

r       :r 

m 

:  s 

S 

:  s 

PI 

Si       :s, 

d 

:d 

S| 

:si     • 

d 

The  Slur  is  a  horizontal  line  drawn  under  two  or  more  notes  and  shows  that  one  syllable  of  the  words  is  to  be  sung  to  m 
a\any  notes  as  are  thus  connected. 


CHEERFUL   LABOR. 


Es.  82.    KKY  D. 

d     :  n 

:s 

d'     :- 

:  s 

s      :t 

:r' 

d' 

d     :d 

:  PI 

m     :  — 

:s 

s      :r 

:r 

PI 

1.  Let       UK, 

dear 

broth     - 

-     ers, 

Cheer-ful 

-  ly 

toil; 

2.  Ricli  is 

the 

treas     - 

nve 

Now     to 

be 

won; 

PI     :  s 

:d' 

s      :  — 

:d' 

t      :r' 

:t 

d' 

d      :d 

:d 

d      :- 

:  PI 

s      :s 

:s 

d 

s      :r 

ti     :t| 

:  PI 

d     :  PI 

:s 

di     :8 
PI     :  n 

:d' 
:  PI 

d' 

d     :- 

:  — 

PI 

nev  -  er 

re    - 

coil 

Nev   -  er 

from 

la     - 

lime     shall 

be 

done 

Toil      in 

full 

meas 

8      :s 

:8 

PI     :  — 

:  — 

s      :d< 

:  s 

S 

8i     :  si 

:s, 

d      :- 

d      :d 

:d 

d 




s 
PI 

bor, 
uve, 

d' 
d 


PI 
d 

No, 
Till 

S 

d 


PI 

Nev 
Toil 

S 

d 


s 

ti 

nev  . 
time 

8 

Sl 


s 
n 

er 
in 

di 
d 


r 

ti 

er 
shall 


PI 

from 
full 

;  S 
:d 


:  n 
:t| 

re 
be 


S 

Sl 


PI 

la    - 
meas 

S 

d 

d      : 
d      : 

coil.   . 
done. 

n     : 
d      : 


:  PI 

bor, 
-  ure, 

:d' 
:d 


PI 
d 

No. 
Till 
S 

d 


Ex.  83.    KEY  C.    Hound  for  two  parts. 

<|d'.d':di      It       :t       Id'.d'ts       In 

'(  Icheerftil-ly        Iwork,      or        jmer-ri-ly         Iplay, 


:  n 

But 


II 


* 

d 

I 


r      :  — 

have 


(done 


-     Id       :- 


some 


8 

al 


good 


:  PI 

ways 


r 

strive 


t, 

Ito 


:r 

that 


PI 

you 


d 

day. 


:r 

mav 


A.  L.  C. 

d       :  — 

Hay, 


m^WB^Bsmmm 


20 


SECOND  Sl-EP. 


]-:x.  84.     K1.Y  Ei?. 


m    .  n 

:d 

. 

n 

s 

:  m 

r 

r 

d    .d 

1.  Piir-er 

2.  Calmer 
:i.  Quicker 

:d     .  1 

yet 
yet 
yet       ( 

a 

md 
xnd 
\nd 

d 

pur     - 
calm     - 
quick 

:d 

-  er 

-  er 
er 

ti    . 
I 

Tri  - 
Ev  - 

woulc 

al 

er 

S       .  S 

:  PI 

.  1 

i 

m 

:s 

S       . 

S 

d     .d 

:d 

.d 

d 

:d 

8|      . 

S| 

8 

:  m 

r     .  r 

:  n 

.r 

d 

d 

tlcar    - 

Rur 

firm    -     ■ 

:d 

-     er 
er 
er 

Ev  -   -ry 

Peace  at 
Step    us 

:t, 

du 

last 

I 

.t, 

-  fy 

to 
pro- 

d 

find: 
gain: 

gross: 

n 

:  s 

S       .  S 

:s 

.  S 

n 

4 

.:4 

S|      .  S| 

:si 

.S| 

d 

n  .  m  : 

d   . 

m 

s 

• 
• 

r   . 

r    :t| 

.  r 

d  .d    : 

God  with 
To    his 
Swell  witl 

d  . 

out 
will 
in 

d 

a 

re- 

mv 

t, 

fear 
sigi 
bre 

led, 

fist, 

i 

t|    .  t|    !  S|    .  t| 
Pa  -  tient-ly       be  - 
And  to      Goil   sub- 
Yet    their  in   -  ner 

s   .  s    : 

m  . 

d 

r 

• 

S     . 

s    :r 

.  r 

d  .d   : 

d  . 

d 

9i 

•                 ,        Ml 

• 

s,   . 

8 

:s, 

.S| 

LONGINGS. 

:d     .  r 

:d     .  t| 

[  be        in 
bear,    and 
on   -    ward 

:  n     .  s 

:  Si     .  Si 


s 

t, 

liev  ■ 
du  - 
mean 

r 

8| 


d 

luind, 

pain, 

press, 

S 

d 


:si 


r     .  r 

t|    .  t| 

Hop  -  ing 
Suff-'ring    still 
Oft      these  earn 

s     .  s     :r 


.  r 

•t, 

still     and 


Si      .  Si 


:si 


and 

•  est 

r 

■  Si 


t, 

trust 
do  - 
long 

r 


:r 

m  .  m  :r    . r 

:t, 

d    .  d   :  t|  .  t| 

ing 

He      will  make  all 

ing 

Heart,  and  will,  and 

mg 

Ne'er  can  be      ex  - 

:s 

S      •  S      •  S      to  3 

:s, 

d   .  d    :  S|  .  S| 

If 

:t, 

ing 
ing, 
ings, 


:S| 


d 
d 

clear, 
mind, 
pressed. 

ni 
d 


The  Medium  Accent  should  now  be  explained.  One 
or  more  of  the  following  tunes  may  be  sung  by  the  teacher,  (to 
la)  first  in  two-pulse  measure  with  every  other  accent  strong  and 
heavy,  and  then  in  four-pulse  measure  by  changing  every  alter- 
nate strong  accent  intoa.medium.  It  may  be  well  to  let  the  pu- 
pils imitate  the  teacher's  examples. 


d    :  d    In    :  m 


:d 


in    :  r 


TWO-PULSK  MKASUKE. 
FOUR-PULSE  MEASDKE. 


1 


:1 


1 


d 


|d:d|r    :r    'm    :m!r    :r    in:8    |f    :in|r    :r    |d    :- 
|n:B    |f   :8    jn    :o    [r   ;»    |m:8    |f    :r    |d    :t,    |d   :  — 


Also  the  following,  first  in  three-pulse  measure  as  written, 
and  then  in  six-pulse  measure  by  changing  every  alternate  strong 
accent  into  a  medium. 

In  :—  :  n  I  n  : —  :d  |r  :  —  :r  |r   :—  ;  -  |  m  :—  :  n  |8  :—  :  f   | 

|n  :— :-|r  :  — :— Id  :  — :— II        or      js,  :  8,   :8,  |8,  :§,  :  8,  ; 

1 8,  :d   :r  jn:  —  :  — |r  :r   tr  |r   :r  :d  |in:in  :r  |d:  —  :  — 1| 

Also  the  following  time-exercises  may  be  written  on  tlm 
blackboard  and  sung  first  as  written,  and  then  with  every  othei 
strong  accent  made  medium. 


1 


:1 


r 


;1 


THREB-PULSE  MEASURE. 


SIX  PUr-SK  MEASURK. 


1       :1 


:1 


5 
1 


1       :1 


1 


:1      :1 


1       :1       :1 


II 


SECOND  STEP. 


21 


.d     I 

unci  [ 
and 

and  I 

.d    ) 

.d 


When  the  pupils  have  distinguished  the  medium  accent  and 
ctai  produce  it,  the  teacher  will  explain  that  the  medium  accent 
changes  two  two-pulse-measures  into  a  fotir-pulse  measure,  and 
two  three-pulse  measures  into  a  six-pulse  measure.  In  four-pulse 
measure  the  accents  are  arranged  in  the  order  strong,  wealc, 
MKpnJM,  weak,  (as  in  the  words  "  mo-men-XA-///, "  "plan-e-TfL-ry.") 
In  six-pulse  measure  the  accents  are  arranged  in  the  onler  strong, 
weak,  weak,  medium,  toeafc,  weak  (as  in  the  words  "8pir-i<-u-AL-i- 
ty,"  \m-mu-ia-Jiiii-i-iy.")  The  medium,  accent  is  indicated  in  the 
notation  by  a  short,  thin  bar.  In  the  time-names,  the  medium 
accent  is  indicated,  when  necessary  (as  in  dictation  exercises)  by 
the  letter  L,  thus,  Tlaa,  Tlaatai,  etc.     In  Taataing,  the  L  is  not 


Ex.  85. 

1        :1 

1 

:1 

TBAA            T.VA 

TLAA 

TAA 

1        :-     II 


:1 


useful.  The  teacher  must  not  expect  too  great  a  nicety  of  dis- 
tinction at  first.  The  hner  points  both  of  time  oud  tune  require 
much  practice. 

The  following  time-exercises  may  now  be  practiced  from  the 
teacher's  pattern,  first  with  the  time-names  and  then  to  la. 

It  will  be  well  in  exercises  85  and  87  to  sing  each  measure 
four  times,  as  a  separate  exercise,  before  singing  the  four  meas- 
ures continuously.  In  exercises  86  and  88  the  portions  marked 
oflf  by  the  dagger  (f)  should  be  treated  in  the  same  way.  Addi- 
tional time-exercises  are  obtained  by  Taataing  the  rounds  and 
tunes  on  one  tone. 


TRAA 


AA 


TAA 


TAA 


—    '-     :1 


TBAA 


AA 


TAA 


1       :-     I- 


TBAA     -     AA 


AA 


S, 


Ex.  86. 


TAA 


1        :  — 


T1:A.\      -      AA 


II 
TAA 


:1 

TAA 


-     I—     :1 


TKAA 


AA 


AA 


T.iA 


1        :1 


TKAA         TAA 


TAA 


TAA 


!.:-!- 


TRAA 


AA-        AA 


Ex.  87.      l'"ir»t  .slowly,  beatinjc  .six  tirae.s  to  llio  mnasiiri),  then  quickly,  l)oating  twice 


1     :1    :1    |1     :1    :1 

TKAA    TAA      T.U     TLA.\       T.V.\       TAA 


1     :  — :  — 11    :  — :- 

TKAA   -  A.\   -     X.K      TLAA  -  A-V    -      AA 


1    :1     :1    |1    :— :1    11    :— :— |— :  — :— 

TKAA   TAA      TAA       T.\A    -    AA        TAA*  TKAA  -AA-AA-AA-AA-AA 


1     :  — :1    |1    :  — :1    11    :1    :1     |1    :  — :-|l     :  — :1    |1    :1    :1 

TRAA-   AA        TAA      TAA    -    AA       T.^     I  TKAA    TA.V      TW       TA.\   -   .\A    -    AA       I  TKAA  -  AA        TAA     T.V.A       TAA     T  A.\ 


TRAA  -  AA  -   AA    -    .VA    -    AA    - 


Ex.  88. 


18  written, 
late  strong 

Is  :-:f   ; 
B,  :  8,  :  8|  1 


;en  on  tlui 
)very  otliei 


:l 

TAA 


1    :— ;I    |1    :1    :1 

TRAA-  AA      TAA     TAA     T.VA    TAA 


:1         11    :-:— 11    :— :- 

TAA  I  TRAA  -  AA     -    AA     TKAA  -  AA  -  AA 


1    :-:-|l    :-:l 

TK.\.\-  AA    -    AA       TAA    -  AA       TAA 

1    :1    :1   II    :-:'l 

TRAA   TAA   TAA       TAA  •  AA       TAA 


t 


1    :1     .1    |1    :— :1 

TRAA    TAA     TAA      TAA  -  AA       TAA 

1    :1    :1    |1    :1    :1 

TKAA     TAA   TAA    TAA       TA.A     TAA 


1    :-:-!- 

TKAA  -  AA   -  AA    -    AA 


-    AA         J 


1    :-:— I— :  — 

TRAA-AA   -   AA    -     AA    -   AA 


Ex.  89. 

1.1:1.111        : 1        11.1:1.111        =  -    I  ^       :  1 .  1  i  1  •  1  ^  1       1 1        : 1  •  1  1 1       :  - 

TAA-TAI      TAA-TAI   TAA  TAA  I  TAA-TAI      TAA-TAI    TAA      -        AA  I  TAA  TAA-TAI    TAA-TAI       TAA        I  TAA  TAA-TAI  TAA   -     -  AA 


Ex.  90. 

1    :1    :1.1 

TAA  TAA  TAATAI 


1    :1    :1    11    :1. 1:1. Ill    :-:-|l.l:l    :1     |1     :1.1:1    |1.1:1. 1:1.1|  1    :-:- 

TAA    TAA      TAA  I  TAA  TAATAI,  &0.    I 


II 


Ex.  91.    KEY  Etz.    Round  in  three  parts. 

8       :  s      I  m      :  d     1 1|      :  S|      |  d 

Ev     -      er         bloom  -  ing,     |  ev    -     er  gay, 


r       :t|      |d      :n     Ir       :r       |d       :  — 

Ev      -     er        wel    -    come,   llove    -    ly  May. 


22 


Ex,  92.     Kk\  F.    Round  in  four  parts. 

: 8      In      :  n      |  n      :  r 

Now      I  we  are         met        let 


(       Now     I 


d       :d 

mirth      a 


SECOND  STEP. 


Id       :t, 

bound,    and 


d 

let 


:s, 

the 


Id      :r 

catch       and 


go      round, 


glee 


Ex.  93.      KET  A. 


:d 

Sweet 

:d 


:d 

And 

:d 


d      :  S| 

sum  -  mer 
d         :  Si 


u      :  S| 

oiear    blue 

d      :  Si 


I  d      :  m 

crowns  the 

Id      :d 


Id      :  PI 

skies,     with 

Id      :d 


SWEET    SUMMER    CROWNS. 


s       :  n 

pleas  -  ant 

n      :  d 

d      :  s, 

earth      With 

d      :  S| 

si      :t, 

beau  -  ty, 

si      :t| 

r 

light, 

r 

:  s 

and 

:t, 

n 

love, 

d 

s       :  n 

smil  -  inj,' 
t|       :  s, 

Id      :  S| 

mirtli.   Speak 

d      :  S| 

t,      :r 

bless  -  ings 

ti      :  r 

8 

from 

t, 

a    - 

:s, 

d 

bove. 

d 

Ex.  94.     KEY  F.     Round  in  tliree  parts. 


j:S| 
I    Come 


d 

fol 


low 


me 


* 

:r 

.   r 

n 

:  r 

n 

:  s 

to 

the 

green 

•    wood 

tree, 

Come 

8    .8    :s  .  s   Is 

fol  -  low,   fol  -low  I  me. 


11 


Ex.  95.     KEY  C.    Round  in  four  parts. 


m      :  f»i      I  r 

Come    Irts        laugh, 


d       :  m      I  s       :  — 

come      let's      sing, 


d'      :d'     jt.d'rr'.tld'     :s 

Win    -    ter        shall  as  merry  |  be 


as 


Spring. 


Ex   96.  -ciY  G.    Round  in  four  parts. 


j|d.d:t,.t,|d      :s,      Im.mrr.rlm      :d      Is.s-s    sis 

\  iHappy.    happy  New    Year.      I  Happy,  happy   New      Year.     I  Happy.'ha^py  '  N 


:  n 

New    Year, 


8|.8|:  S|.S||  d 
Hear  the  merry  bell. 


{! 
II 


E.\.  97,    KF.y  C.    Round  m  two  parts. 

d:d:d|m:ni:n|s    :— -: 

M^i-n   -   ly,     mer-ri  -   ly    |  danc    -    . 


n  -m  :n  |d    :d   :d   In  :  — 

Comothe  bright  rays  of      the    mom    - 


Id'  : 

ing, 


I  n   ; 

ing. 


t    :t    :t    |r'   :r'   :r'  Id'  :- 

Mer-ri  -  ly.     mer-ri  -    ly    |  ghmc 


8    :8    :8    It    :t    :t    Id': 

Fill  -  ing    all    hearts  with  de  -\  light. 


'  —  I  s    :  —  :  — 

-    -    ing. 


Ex    98.      KKV  G. 


fl 


3  'wn  parts. 


m  :n  :n  |r    :r    ;r    H    :s    :s    |n  :• 

Cheerful  -  ness  com-eth    of    |  in  -  no-  cent  song, 


d    :d   :d  |t,   :t,   :t,  Is,   :s,  :8,  jd    : 

Let    us     thensmgas      we|jour-ney    a   -long. 


t 

S 


SECOND  STEP, 


go      round. 


S 
iv^l  me. 


=  -} 


Ex.  99.     KEY  F.    Konnd  in  three  partK. 


(Is      ;  s      :  s 

]  I  Come  ye  n 


Is 

way, 


•  —    In     :  n     :  n 

I  Come    ye         a 


11 

II 
il 


sum 


:—    :d     Is, 

-     mers   day, 


d      :  — 

Come 


:  m 

a 


ir 

way, 

|r 

way. 


Id      :d  :d 

I  This      is  a 

d      :—  :d 

Come  a 


ve 


:t, 

■    ry 


rt, 

fine 


t,      :—    :  — 


Ex.  100.     Kiv  D.     Round  in  four  parts. 

d   :d    :d   Id   :d    :d  irn    :  — :r    Id    : 

Mer-ri    -   ly,     mer-ri   -    ly,  |  sound        the    horn; 

s    :—  :s    Is    :— :8  Is    :  —  :s    |s    : 

Let  It     ring  now |  loud  and  long; 


Cheer-i   -   ly,     cheer-i   -   ly,  |  o'er 


WHV. 


:  s    I  n  :  - 

the     lawn; 


-:  — Idi  :— :-|s    :_:_|d'  :-:_ 


On 


ward, 


On 


ward. 


Ex.    101.       KEi  C. 


s     :  s 

m    :s 

d'    : 

m    :  m 

d     :  m 

m    :  — 

Sing    we 

now     ot 

home, 

d'     :d' 

s     :d' 

s     :  — 

d     :d 

id     :d 

d     : 

HAPPY  HOME. 

t     :d'    |ri    :s 
r     :  m    |s     :s 

^>H^  -  Py.      hap  -  py 

s     :d'    |t     :t 
s     :s     is     :s 


m' 
s 

horn 

di 
d 


B.  C.  U. 

r'     :r' 

!r'     :8 

s     :s 

s     :s 

Sing   we 

now      of 

t     :t 

t     :t 

s     :s 

s     :s 

r' 
s 

hatj 


;s 
py 


ir    :s 
|s     :s 

home,  of 


t     :t 

s      :  s 


s     :s 

hap  -  py. 


d'    :t 

s     :  s 


:r'     jdi    :t     Id'    :-   |-   :-  |t     :t 


m    :r 

hap  -  py 


S 
S 


t     :t     Id'    :d'    Id'    :d' 


n     : 

home. 


a     :  — 


r     :r     |r     :r 

Yes,    with  heart   and 

Love,  that  bright-ens 

Bless-ingH  ev    -    er 

Love  with  last  -  ing 

s     :s     IS     :s 
s     :s     I  s     :s 


m     :  n 

voice  un 
ev  -  ry 
new    in 


23: 


I 


I  m    :  n 

tir    -   ing, 
pleas- ure,  \ 
vite     us,    ■ 


bonds  shall    bind    us, 


S 

s 


:  s 
:s 


Is 
Is 


i 


t    :t    It    :t    Id'  :d'  |  d'  :  d' 


r   :r   |r    :r 

We    will  join    the 
Biings  us  more  than 
Joy  and  so  -  cial 
^Vllile  the  fleet -ing 

8   :s   Is    :s 


n  .*  n  I  n   :  n 

strain  in  -  spir  -  ing, 
gold  -  en    treas-ure, 
mirth  de  -  light  us, 
mo-ments  find   us, 

s    :s    Is    :s 


t    :di 


s 


r    :  m   |s    :s 

Sing-ing    now   of 


s    :s   |s    :s    Is    :s    Is    :s 


:d' 

:s 


It 
s 


:t 
:s 


n 


-In'  :  n'  |r'    rr*  Id' 


s    :- 

home. 


d'   :- 
d'   :  — 


s    :  s    1 8    : 8 

hap  -  py,   hap  -  py 


d'  :d'  It 
d<  :d>  Is 


t 
s 


n    :■ 

home. 


:s 
:s 

I . 


24 


SECOND  STEP. 


Ex.  102.      KEY  G. 


M.  C.  S. 

:S| 
:  nil 

the 
flay 
nitiK 

:d 
:  d 


SING  EVERY  ONE. 


B.  C.  U. 


:  n 


n 


nil 

H*m'H 
when 
shiul  ■ 

d 
d 


:  s,      I  S| 

blight  beiini, 
the        snii 
ows        fall, 

;  d      I  d 

:  d       I  Si 


S| 

:si 

d      :  n 

m, 

:  nil 

nil     :si 

(lew  - 

drop 

dia  -  mond 

fer    - 

vid 

heat    wfi 

kIuiu  - 

l)or 

claima  ns 

d 

:d 

d      :d 

d 

:d 

d      :d 

:  r 


|m 

I  S|      :  — 

seem 
shun, 
all 

I  d.„„lt| 

Is,      :  — 


Silent  Pulse.  The'following  exerciBes  include  the  prac- 
tice of  the  one-pulse  Kilence.  The  teacher  may  explain  this  in 
liis  own  way.  A  very  good  way  is  that  in  which  two-pulse  tones, 
and  half-pulse  tones  were  taught  in  the  first  step — that  is,  by 
singing  a  simple  time-exercise  and  making  a  mistake,  passing 
over  a  pulse  in  silence,  the  pui^ils  calling  out,  wrong,  &c.     The 


S 

t| 
At 

Rides 
La    - 

r 

8| 

t, 

S| 
In 

Flood 
Sing, 

r 

Si        : 


:  s 

:t| 

the 
on 
bor 

:  r 

:  Si 


:8| 

the 
ing 
sing, 

m 

8| 


I  s 

id 

dawn, 

high, 

done, 

|m 

Id 

|m 

Id 

wel  -  come 
earth  and 
ev 

Is 


:  r 

:t, 


S| 


s 

8| 


n 
d 

at 

rides 
la    - 

S 

S| 

d 
d 

morn. 

sky. 

one. 

n 
d 


:  r 

:t| 

the 
on 
-  bor 

:  s 

:  Si 


id 
Id 

dawn 
high 
done 

d 


=  ) 


time-name  of  a  silent  pulse  is  S^l.fl,  and  to  further  distinguish 
the  silence  names  they  are  printed  in  italics.  In  tantaing,  the 
silent  pulses  are  to  be  passed  in  a  whisper — that  is,  the  time- 
name  iVlyl  is  to  be  whispered.  Some  teachers  prefer  to  whisper 
the  time-name  taa.  The  following  exercises  should  be  Taataid 
and  la-ed  on  one  tone  and  then  taataid  in  tune. 


Ex.  103. 

TAA             TAA 

1       :1 

TAA 
1 

SAA      ' 

rAA 
1 

d       :  m 

8 

m 

d        :r 

n 

8 

d        :  n 

d 

S| 

Ex.  105. 

TAA                    TAA 

1           :1 

TAA 

:1 

TAA 
1 

d           :d 

:d 

n 

d           :  n 

:  8 

d 

d            :t, 
E^  (06. 

TAA             TAA 

1        :1 

TAA 
1 

:d 

SAA 

r 

TAA 

1 

d        :  d 

Id 

m 

d        :  r 

l« 

n 

d        :s, 

Id 

fi 

SAA 


TAA 
1 

SAA 

Ex.  104. 

TAA         SAA 

1       : 

d 

d       : 

d 

8        : 

d 

d       : 

SAA 


TAA 

:1 
:  m 
:d 
:  r 


TXA. 

:  n 
:d 
;  r 

SAA  -  AA 


TAA 
1 

8 

m 
m 


TAA 

:1 
:8 
:d 


TAA 
1 

8 

m 
n 


SAA 


TAA 
1 

d 

8 

m 

SAA 


SAA 


A  A         TAA 

:1 

:  8 
:  8 

:  8, 


TAA 
1 

TAATAI 

:1.1 

d 

:d.r 

s 

:  n  .  r 

d 

:  8, .  m 

TAA 
1 

d 
s 
d 


TAA 
1 

d 
m 
d 


AA 


TAA 
1 

n 
d 
d 


TAA 
1 

d 
n 


SAA 


SAA   -  •   AA  -  AA 


t.  c.  u. 


■■=) 


Ex.  107.     KET  G.     Round  in  fotir  parts. 


II 

II 


d       : 

March, 

m 

Fal 


:  m 

ter 


s,       : 

march, 

r 

not 


:r 

for 


d       :S| 

march     a    - 

n      :r 

foe   -    man's 


d 

way, 

n 

ire, 


SECOND  STEP. 


* 

d       :d 

Who      are 


S 

Now 


:s 


t, 

read 
S 


S 


make  |  read   -    y, 


d 

for 

8| 
aim 


:t, 

the 

:si 

and 


25 


u. 


d 

fray; 


:  s 

shoot! 


II 


Ex.  108.     KEY  C.     Round  in  two  purts. 

s    :d<   :      is    :d>  :      It    :t    :t    |d>   : 

Cuc-koo,         Icuc-koo,  |  list    to     the   |  song; 


T.  F.  S. 


is    :n  :d   Is    :m    :d  Ir    :r    :r    In    :— : 

I  Sweetly      it    |  floats  o'er  the  |  meadows    a  -  |  long. 


Ustinguish 
itaing,  the 
the  time- 
to  whisper 
be  Taataid 


Ex.  109.    KEY  D.    Round  in  three  parts. 


B.  C.  U. 


II 

II 


d   :  m  |s    : 

See    the   bee. 


on 


:t    |r' 

the    lea, 


s    : s    1 1    : t    Id'  :  — 

is      his     raer  -  ry    I  Song, 


d'  : 

hear 


m   :s 

0       I 


|s    :- 

his 

d<   :s 

hear   it. 


n   :- 

song — 

r    :  s 

yes,   I 


t    :s    In    :s    |r    :s    Id    : 

hear  it,    |  Hear  his     mer  -  ry  |  song. 


TAA 


:1 
:d 
:  n 


Ex.  110.     KEY  C. 

/ 
:d'       t       :         I 

Who's     there? 

m 

:s       |s 

Don't    speak, 


:t 

I'm 


d'      :         I         :d' 

sure  / 

V 
:d      Id      : 

keep     still, 


t 

/   vrd 


:t 


PV 

:s       |s 

hush,     hush. 


d'      : 

soHnd, 


4 

o 


n      :8 

YES,  'tis 


:d' 

m 

Id' 

• 

■; 

:d' 

who 

d< 

• 
• 

:d' 

8 

« 
• 

WE 

who 

sing, 

Id' 

sing 


:s 

who 


n 

Bing 


:d' 

this 

:  n 

this 


lit 

r 

lit 


:t 

tie 

:s 

tie 


d' 

song. 

d 

song. 


AA 


11 


Ex.  ill.    KEY  G.    Round  for  two  parts. 

:d       Id       : 

O  haste. 


:r 

o 


O   HASTE. 

|r        : 

haste, 


tm 

0 


jw      1 

haste, 


:r 

Do 


|r        :r         n       :  — 

not  de     •    I  lay, 


d 

Yes, 


:d 


r 

will, 


tr 
I 


II 


n 

will. 


I 


I  will. 


:  r 
I 


|r 

wiU 


:r 

a 


d 

way. 


mmm 


26 


Ex.  112.    x£T  E^ 

d     :- 
d     :- 

Come 
Come 

m     :  — 


d     :- 


n    :  n 
d     :d 

wea  -  rj' 
that     1 


s     :8 
n    :  m 

Henv  .  y 
Now    let 

s     :s 
d     :d 


n    :  n 
d     :d 

un  -   to 
an  -   to 

s     :s 


d     :d 


s      : 

ti     : 

road, 
give, 


s 

:  m 

n 

:d 

la 

-    den 

ev 

-  'i-y 

S 

:s 

d 

:d 

rest, 
t 

8 


Ex.   113.      KEY  E. 

d   :d   :d  |  m  :  n 
d   :d   :d  Id  :d 

1.  O  -  ver    the    o  -  cean 

2.  Under     a    can  -  o  - 

3.  Mingling  onr  singing 

m  :  m  : m  |  s    :s 
d    :d   :d  !d  :d 


r     :  — 

ti    :- 

me 
me, 

s     :  — 

Si      :  — 


s     :  PI 
m    :d 

Faiut-ing 
Learn  of 

s     :  — 

Come, 

d     :  — 


t 
r 

op 

be 

IS 

:si 


n 

and 
soul 

S 
Si 


n 
d 

Be 


:  n 
:d 

of 

P.v 
with 

:s 
:d 


8ECX)ND  STEP. 
COME  UNTO  ME. 


r     :d 

t|     :d 

'neath  sin's 
me        and 


t      :  — 
r      :  — 

prest, 
blest. 

s      :  — 

Si      :  — 


n 
d 

at 


8     :  — 

ti    :- 

Come 
Come 

r     :  — 

8i     :  — 


m     :r 

r 

d     :t| 

t. 

heav -  V 

load. 

low  -  ly 

live. 

II 


8 


rn     :  n 

Come  to 
Come  to 

8     :s 
d     :d 


t, 

rest. 


8 

t| 


:s 

:t, 


un  -  to 

nn  -  to 

s      :s 


8,    :si 


n    :  - 
d     :  — 

me. 
me. 

8      :  — 
d     :  — 

{  = 

d     : 

Come, 
Come, 

d     : 


8 

:  PI 

n 

:d 

me 

and 

me, 

&c. 

8 

:8 

d 

:d 

n     :r 

d     :t, 

be        at 


S 

S| 

8 

d 

Come 
PI 


s    :s 


PI  :  — : 
PI  :  PI   :  PI  I  d  :  —  : 

bright  sparkling  snow, 
gemmed  with  the  light, 
jingling    of     bells, 

d'  :d'  :d'  Is    :  — : 
d   :d    :d  |d  :  — : 


OVER  THE  SNOW. 

r    :r 

t,  :t| 


:r 

t, 
ly 
ly 
ly 

8 


Mer-ri 
Mer  -  ri 
Mer-ri 

8:8 

8|  :8|  :S|    |S|    :  — 


s 

ti 
o, 
o, 

0, 

r 


m    : 
PI    : 

come, 
come, 

n    : 
PI    : 


t, 

rest, 

8 

8| 

8 

t| 
come, 

S 


Si 


A.  L.  CowiiBi. 


d     :d 
d     :d 

1.  Ye     who 

2.  Light  the 

PI    :  — 

Come, 

d     :  — 


8     :  — 
8     :  — 

come, 
come, 

8     :  — 
8     :  — 


Be 

d'    :  — 
n    :  — 


PI    :  — 
d     :  — 

come. 

s     :  — 
d     :  — 


li. 


r    :r    :r 

t|    :  t|    :  t| 

mer  -  ri  -  ly 
mer  -  ri  -  ly 
mer  -  ri   -    ly 

8    :8    :s 

8|    :8|    :S| 


ti 
o, 
o, 
o, 

r 

8| 


d     :r 
d     :d 

tread  the 
bur  -  den 


:  ) 


at 

d> 
d 


m 


S.  Tatlob. 


SEOO 

ND  STEP. 

:'» 

d   :d  :d  1  m   :  n  :  m 

8    :  — 

.•8     PI  :  —  :  — 

r   :r    :r 

8    :b    :8 

[d 

d   :d  :d    d    :d  :d 

Swift  as      a    bird     in     its 
Speed  we   a  -  way    on     our 
0  -   ver    the  val  -  ley     our 

m  :  — 

flight 
path    - 
mu    - 

:  n    d  :  —  :-- 

we    go, 
way  bright, 
-   fiio   swells. 

t|  :t|    :t| 

Mer  -  ri  -  ly, 
Mer-ri  -  ly, 
Mer-ri  -  ly. 

t|    :  t|  :  t| 

mer  -  ri  -  ly 
mer  -  ri  -  ly 
mer  -  ri  -  ly 

d 

0. 
0. 
0. 

m  :  m  :  m  |s    :s  :s 

d'  :- 

:d'  |8   :-:  — 

8    :s     :s 

|r    :r  :r 

n 

d   :d  :d    d    :d  :d 

d   :~ 

:d     d  :•— :  — 

8|  :S|    :8| 

|S|    :si  :8| 

d 

Vf 


'^  CHOKUS. 

8    :s    :8  |8    :8    :s 

n   :  n  :  n  I  m  :  n  :  m 

iler  -  ri  -  ly,  mer  -  ri  -  ly 

•  •  I        •         • 

•  •  I        •         • 

d   :d   :d  Id  :d   :d 


—  :-ld'  :  — 


m  :  —  :  —  |  — 

0, 

:      :      I 
d   :  — :  — I  — 


n  :  n 

:  m 

In   :  n 

:  n 

d  :d 

:d 

d    :d 

:d 

Mer  -ri 

■  ly. 

met  -  ri 

-  ly 

8    :s 

:s 

8    :8 

:s 

d   :d 

:d 

d    :d 

:d 

n 


A    . . 


or 

8 


8 

m 


—  :  —  I  d'  : 


d    :— :—  I— :- 


o 
d 


ver 


tlie  snow, 

d  :d  id   : 


m  :  n  :  m  i  n 
d  :d   :d  |d 

Swift-ly      we      go, 


r    : r    :r  |  s    :  s     :  s 

t|  :  t|   :  t|  [t|    :  t|   :  t| 

Mer  -  ri  -    ly,  mer   -  ri  -     ly 

8    18    :s  |r    :r     :r 

8|  :  8|    :  S|  I  S|    :  S|    :  S| 


d 

d 

o. 

n 
d 


D.  a 


Ex.  114.    KKr  F. 

n.  n  :  n      :d 
d .  d  :  d       :  S| 

1.  still  like  dew     in 

2.  Day  and  night  the 

s  .  8  :s       :  m 
d.  d :d       :d 


m  .  m  :s        :  n 
d  .  d : m       :d 

si  -  lence  fall    -    ing, 
spell  hangs  o'er    me, 

S    •  8    •  S  •  8 

d  .  d  :d       :d 


STILL   LIKE   DEW. 


r.r:r.r:d.r    m 

t| .  t|  :  t| .  t| :  d  .  t|  d 

Drops  for  thee,  the  nightly    tear, 
Here  for-ev  -  er  fix'd  thou  art, 

StS      •o«S     •a     sS        S 

8| .  S| :  8| .  8| :  m|.  8|  d 


B. 

C.  Dhskt.iv. 

P). 

n  : 

n 

:d 

d. 

d  : 

d 

:si 

still  that 

voice 

the 

As 

thy 

form 

first 

8    . 

8  : 

8 

:  m 

d  . 

d  : 

d 

:d 

m. 

m:s 

:n 

d. 

d:m 

:d 

past  recall  -    ing, 
shone  before  me. 

8. 

8  :8 

:s 

d. 

d:d 

:d 

r .r  :r  .r  :n.r 

d     :        : 

Dwellilikeecho  on  my 
So  'tis  graven  on  this 

d     :-    : 

ear, 
heart. 

D«o     •9t0*o«o 

n     :—    : 

8|.  S|  :8|.  8|  :8|.  S| 

d     :—    : 

r 

t, 

stm, 

Deep, 
8 

8| 


8  :  — 

t,  :- 

atill. 
deep, 

8  :  — 

8i  :  — 


m 

d 

stm. 

deep. 
S 

d 


28 


SECOND   STEP. 


Pulse  and  half  tones  may  be  taught  ««  foUowB.    The 
teiMher  writes  the  following  exerciseB  on  the  board. 


TAA 
1 

TAA 
1 


TAATiU     TAA 

:l    .1    11 

TAATAI    TiiA 

:1    .1   |1 


TAA 

:1 
:1 


TAA 

TAA 
|1 


TAATAX     TAA 

:1    .1    |1 

TAATAI     TAA 

:1    .1    11 


TAA 

:1 

TAA 

:1 


And  when  they  are  correctly  Bung  he  changeB  the  second  nu«  to 


TAA 


AA   TAI  TAA 

:-  .111 


TAA 

:1 


TAA 
II 


TAI  TAA 
-   .1  11 


TAA 

:1 


and  explains  that  in  the  first  and  ^^Y^^^^^'^^^'^Pl^^'^^ 

be  continued  from  the  first  P^lsV^^l"  i?iJ„     Thf  exercise 
ond,  making  the  tone  a  pulse  and  a  half  lon^.     The  exercise  w 
then  to  be  tiitaid  and  la-ed  from  the  teacher's  pattern.    The  two 
«e?cSes  rX  then  be  sung  alternately.     '^^^^^^^^Z 
are  to  be  taataid  and  laed  on  one  tone  and  taataid  in  tune. 


Ex.  115. 


TAA 

TAATAI 

TAA  -  AA     TAI  1 

TAA-    AA     TAl| 

TAA 

1 

TAA 

:1 

1 

:1  .1 

1              ■ 

-  .1 

1       : 

-   .1 

d 

:  n  .r 

d 

-   .r 

n 

-   .  s 

n 

:d 

n 

:  8   .8 

n 

:-   .r 

d 

r 

-   .t, 

r 

:d 

8 

:  n  .  m 

s 

.-   .n 

:-   .d 

t, 

:d 

Ex. 

16. 

TAA 

1 

TAA 
1 

SAA 

TA_ATAI 

:1.1 

TAA 

1 

d 

3l 

:d.r 

m 

n 

d 

:r.d 

8 

m 

3 

:d.r 

n 

TAI 
-    .1 

-  .d 

-  .n 


TAATAI     TAA 

1   .1:1 

t,  .  d :  r 
r   .d:t| 


-  .  8|  I  n  .  r  :  d 


Ex.  117. 


II 


TAA 
1 

d 
ti 
n 


Ex.  118.    K'^Y  F.     Hound  for  three  parts. 

:-    .slB  :-    .8|n.r:d.t||d 

we     now  a  I  mer  -  ry,  mer  -  ry  \  lay. 


TAA      -      - 

1 

AA 

TAI 
.1 

T.A.A 

:1 

TAA 
1 

TAA 

1 

d 

- 

.  r 

:  m 

8 

n 

n 

- 

.  r 

:d 

r 

d 

s 

•    - 

.  n 

:d 

n 

:  r 

TAA      - 
1 

.        AA 

TAI    TAA     TAI 

.1    :1   .1 

TAA 
1 

TAA 
1 

d 

:  - 

.d  :  rn  .  r 
.  S|     :  n    .  d 

d 

8 

8| 

:  d 

8 

:  - 

.  d'    :  8     .  n 

d 

:  n 

SAA 


w. 


s 

Sing 


Ud  .t,  :d    .r  in 

(  I  hap  -  py  while    we  |  may, 


:-       Id 

Iab 


:d 

we 


d 

jour 


:d 

ney 


* 

m 

Let 


S| 
on 


:-    .mm 

us  I  all 


In         •-   • '   i 

I  all  be  ) 


:8| 
our 


d 

way. 


Ex.  119.    m  G.    Bound  for  four  parte. 

d.r  tn.djs      :-  .rln 

'        to  sing.  to  'rest 


llLeam 


:-  .rlr 

the  wea 


:d      [d.r  ;n.d|8| 

.   ry,      I  Learn  to  sing, 


A.  L.  0. 

.t,ld      :-  .t,|t,      :d 

to  loheer  the  drear  -  y, 


(id.r  tn.d|8      :-  .siisi 

1 1  Learn  to  sing,  to  Ibw 


:8| 
Isoothe    the 


|8| 
tear 


:d 

ful, 


|d.r;n.d|g|      :-  .bIs      js      Is      :n 

I  Learn         losing,  tolmtke     life     cheer  -  fol 


A. 

S.  KiE 

Ex. 

120.    I 

8| 

:-  .1 

n, 

:-  . 

1.  qen     •     1 

2.  Years        i 

IJ.AII 

1 

d 

:-  .( 

d 

:-  .( 

8| 

:-  .! 

n. 

• 

t        • 

And 

( 

.Vnd 

1 

And 

1 

d 

:-  .( 

r 

ti 

But 
But 
But 

r 

8| 

8| 

mi 

For 
And 
Like 

d 


Ex.  121.    X] 

ft  n  .  n    n 


:8,  .S| 

1 1.  Banish 
(2.  Here's  a 
J3..Toinwe, 

:d  .d 
:d  .d 


8l 

all 
ha 
th 

d 
d 


SECOND    STEP. 


A.  S.  KlEFFER. 
Ex.   120.      KEY  Q. 

8|      :-  .8|  |d  :d 

Pil     :-  .mi|8|  :d 

1.  (jen     -     tie  spring    is 

2.  Years        a  •  go  ber 
:).  All             a  •  lone  she 

d      :-  .d  1  n  :  pi 

d      :-.d|d  :d 


GENTLE  SPBIVa  IS  HERE  AGAIN. 


8| 

nil 

And 
/Vnd 
And 

d 
d 


r 

t, 

But 
But 
But 

r 


:-  .8|  |d  :d 

:-  .piilSj  :d 

tbo  sing  -  inj,' 
life's  lot  WHS 
the    bare  -  bells 

:-  .d  I  PI  :  m 

:-  .d 1 d  :d 


8| 


;-  .r  |r 

;-  .t,  It, 

my  heart 
no  joy 
her  face 

;-  .r  |r 

:-  .8||s, 


S|      :-  .S|  |d 


mi 

•  _. 
• 

.PI,! 

S| 

For 

I 

miss 

And 

I 

lin 

Like 

an 

an 

d 

• 

.d 

n 

d 

•  _ 
• 

.d 

d 

:  r 

:t, 

is 

earth 

still 

:r 

:s| 

:d 
:d 

the 
ger 
gel's 

:  m 
:d 


Ex.  121.    S£T  6. 
^!  n  .  PI     PI 


r 

:d  .r 

ti 

here 

:  d  .  t| 

a 

gen 
calm 

■    tie 

S 

:s 

8| 

:  nij.  S|  1 

r 

:d  .r 

ti 

birds 

:d  .t| 

have 

full 

of 

mute 

-  ly 

8 

:s 

S| 

:n|.  S|  1 

t| 

:d       1 

8| 

:n, 

sad 

and 

now 

can        { 

brigh 

r 

-ly        1 
:d       1 

S| 

:8|       ! 

r 

:d  .r 

ti 

rd.til 

lov    - 
but 

mg 
to 

still 

it 

8 

:8 

S| 

:P!|.S| 

i:8|  .S| 

1 1.  Banish 
(2.  Here's  a 
J3..Toinwe, 

:d  .d 
:d  .d 


•  *. 


8| 
all 

hand 
then, 

d 
d 


.  PI  : d  .PI 

.  8|  :  8|  .  d 

desponding 
for  ev  -  'ry 

in    bravest 

,  d  :  m  .8 
.  d  :d  .  d 


8 

d 

sor 
broth 
cho    - 

PI 

d 


PI      :-— 
d       :- 

gain, 

voice, 

sleeps, 

s        :  — 
d       :  — 

PI       :  — 
d       :- 

come, 

joy- 

weej), 

8       :— • 
d       :- 

r       :~ 

8i      :  — 

lone, 
give, 
beams, 

ti      :- 

8,       :  — 

n       :  — 
d       :- 

tone, 
grieve 
seems — 

8        :  — 


8       :-  .8  |8       :  PI 
d       :-.d|d       :d 

Bring     -     ing  mirth     and 
Filled  my  heart      with 

Un    -      -    der-neath     the 

m      :-  .m  I  m      :8 
d       :-.d|d       :d 


s       :-  .8  |8  :  PI 

d      :-.d|d  :d 

Chas      -      ing  gloom    and 

With             this  sin  -    gle 

Tears            up  -  on  her 

PI      :-  .m  I  PI  :8 

d       :-.d|d  :d 


m 

8|       : 

Though 
Tempt 
Com    - 

d 
d 


-  .PI  I  PI 

-  .8|  |8| 
the  win 
ing  with 
ing  to 


m 


:-  .d 
:-  .d 


d 
d 


8        :-  .8  |s 
d      :-.d|d 

Which       could  bring 
For  the     dear 

Bend     -    ing     o'er 

PI      :-  .PI  I  n 
d       :-.dld 


:  m 
:d 

it 

lost 

my 

:s 
:d 


BAMISK  SORROW. 


:  n 
:d 

row, 

er, 

rus. 

:8 
:d 


:  PI  .  m 
:d  .d 

Tho'  the 
Working 
Sing-ing 

:8  . 8 
:d  .d 


r 

t, 

skies 
stout 
all 

8 

8| 


B.  C.  Umssld 

r       :—      d      : 

t|      :—      d      : 

glad    •     .    .    ness; 
pleas      -            ure, 
wil     ...      low. 

8       : —       PI      : 

S|      :—      d      : 

r       :—      d       : 

t|       :—      d       : 

sad     -     -     -    ness. 

treas    -    -    -    ure; 
pil     -     -     -     low; 

8         :  —      1  PI        : 

S|       : —      d       : 

8| 

8| 

try 

doys 

the 

wish 

me 

in 

d 

d 

d 

Hi 

-  . r  :s  .r 

-     .  t| !  t|   •  t| 
may  frown  to- 
ly,  climbing 
our  pains  to 

-  .  8  :r  .8 

-  .  S|  :  S|  .  8| 


:8| 

have 

to 

my 

:t, 
:si 


I  pi       :  — 
|si       :  — 

flown, 

live, 

dreams- 

d       : 
d       : 


I  } 


r 

t. 

glad 
treas 
pil 


8|       :  — 


-     Id 


ness. 

ure. 

low. 

In 
d 


B.  0.  U. 


n 

•  ^^ 

:in  .  m 

d 

•      - 

• 

:  8|  .  8| 

day; 

Shall  not 

slow, 

Here's  a 

rest 

While  the 

8 

•  ^^^ 
• 

:d  .d 

d 

• 

:d  .d 

■Hi 


30 


' 

SECOND   STEP. 

m 

«  

• 

.  n   :  d  .  m 

8 

:  m 

:  n 

.n 

r         :  - 

.8   :  8    .  t| 

d 

■      „„ 

• 

B| 

• 
• 

.  8|  :  S| .  d 

d 

:d 

:d 

.d 

t,         :- 

.  t| :  t|  .  S| 

S| 

1 

sun 

, 

shine  with    to  - 

ni,r      - 

row, 

O'er 

its 

a    -    -    -      - 

zure  beau  -  ty 

play? 

will 

to       help    each 

oth    -     - 

er, 

In 

the 

doubt 

we     all    must 

know. 

heav'n 

gleams  kind-ly 

o'er 

UB, 

Lirht  and| 

joy 

shall  make  us 

blest. 

d 

• 
• 

.d   :  PI  .8 

n 

:  8 

:  8   . 

8 

8          :  - 

.8  : r  .r 

m 

» 

d 

• 

.d   :d  .d 

d 

:d 

:d 

d 

8,         :- 

.  8|    :  8|  .  S| 

d 

• 

r 

• 

.  t|  :  d  .  r 

n 

:d 

:  m 

.  rn 

r          :  - 

.  t|  :  d  .  r 

n 

• 
• 

ti 

•  

• 

.  S|  :  S|  .S| 

St 

:8| 

:d 

.d 

ti         :- 

.  8|    :  8|    .  8| 

S| 

bring 

its    toils     and 

trou     - 

bles, 

But 

the 

heart 

that  fears    and|  faints, 

cheered 

and  loads  and 

light    - 

ened 

t 

By 

the 

mag    -    -    - 

-  ic      of        a 

1  word. 

stoop 

to     lift      the 

weak     - 

est, 

Love  the 

low    .    -    - 

-  liest  grief  shallj  see, 

8 

• 
• 

.  r   :  d    .ti 

d 

:  n 

:  s 

.  8 

8          :  - 

.  r   :  d  .  t| 

d 

S| 

• 

.  S|  :  [Hi  .S| 

d 

:d 

:d 

.d 

8,          :- 

.  S|  :  Hi  .  8| 

d 

•      _ 
• 

n 

•  — - 

. n    :d    . n 

s 

• 
* 

n 

:  n    .  n 

r 

:  -    .8    :  s     .  t| 

d 

8| 

;  — 

.  S|    :  S|    .  d 

d 

• 
• 

d 

:d    .d 

ti 

:  -    .  t|    :  t|    .  S| 

S| 

heav     ■ 

- 

-     y        bur  -  den 

dou 

-      - 

ble. 

Heap-ing 

care 

with    vain    com- 

plaints. 

day 

by      smiles  are 

bright    - 

ened. 

Ere     the 

friend 

-    -    -    ly        tone    is 

heard. 

more 

shall  spurn  the 

meek 

est; 

Broth-ers 

firm 

and     true    are 

we. 

d 

• 

. d    : m    .8 

n 

• 
• 

8 

:8     .8 

8 

:-    .8     :r    .r 

m 

d 

. d    :d    .d 

d 

• 
« 

d 

:d 

.d 

S| 

:  -    .  S|    :  8|    .8! 

d 

:  m  . 

n 

:d   . 

d 

Life 

must 

Hopes 

are 

Strength 

shall 

:  8    . 

S 

:d   . 

d 

:  n  .  m 

:  8|  .  S| 

Makes  the 
Dusk  -  y 
Pride    no 

:d  .d 
:d  .d 


TAA 


11: 


% 


Quarter-pulse  tores  tire  to  be  taught  next.  The  method 
for  doing  tliis  need  not  be  described— the-same  process  pursued 
with  half-pulse  tones  may  be  used  or  they  may  be  taught  at  once 
by  pattern  from  tta  Time  Chart  or  Finger-signs  or  from  the  ex- 
•roues  below.    They  are  named  tafate/e.      They  are  indicated 


in  the  notation  by  a  comma  in  the  middle  of  each  half-pulse, 
thus,   |l,l.l,l  : 
tafa  tefe. 

Exercises  to  be  taataid  and  la-ed  and  taataid  in  tune. 


Ex.  122. 


TAA 
1 

d 
d 


TAA  TAX 

1  .1 


:  n 
:  S' 


.  n 


TAA 
1 

s 
d 


TAI 
.1 

.  s 
.d 


ta  -  fa  -  te  -  fe 
1    ,1    .1    ,1 
d  ,d  .d  ,d 

m  ,  r  .  d  ,  t| 


TAA  TAI  ta  -  fa  -  te  -  fe 

1  .1  :1  ,1  .1  ,1 

C)  .PI  :  s    ,  s   .  s   ,  s 

d  .  S|  :  n  ,  r  .  d   ,  t, 


TAA 
1 

d 
d 


SAA 


Ex.123. 

ta  -  fa-  te  •  fe    tav  r\i 

1  ,l.i  ,1  :1  ,1 

d  ,  d  .  d  » d  :  m  .  d 

8   ,R    .8    ,  8    :  S  .PI 


Ita  -  fa  -  te  -  fe    taa 

1  ,1  .1,1  :1 
PI  ,  PI  .  PI ,  PI  :  8 
n  ,  in  .  PI ,  PI  :  PI 


TAI 

ta  -  fa  -  te  -  fe    taa 

TAI 

TAA 

TAI 

TAA 

.1 

1  ,1  .1  ,1  :1 

.1 

1 

.1 

:1 

.   PI 

S     |B     iS     fB     (S 

.   PI 

d 

.m 

:  d 

.   PI 

r  ,  d  .  t,  ,  d  :  r 

.  s 

m 

.r 

:  d 

SECOND   STEP. 


41 


1  .  m 
[   .d 

fe    mustf 
)pe8  are 
igth  shall^ 

.  S 

L   .d 


n  .  n 

S|    .S| 

lakes  the 
usk  -  y 
ride    no 

i  .d 
d  .d 


TAA 


ta  •  fa  -  te  -  fe 

:1   ,1.1    ,1 

:  s   ,  m .d    ,  n 
:  r   , r  .r    ,r 


1 

s 

r 


.1 

.  s 

.   8 


TAA 

:1 

:8 
:  n 


ta  -  fa  -  te  -  fe    ta  -  fa  -  te  -  fe 

|1  ,1  .1   ,1:1   ,1  .1    ,1 
8  ,i*).d  ,in:s   ,m.d   ,in 
Ir  ,r  .r  ,r  :  8   ,8.8    .8 


TAA 
1 

TAl 
.1 

TAi 

:1 

8 

.     PI 

d 

d 

.     PI 

d 

^X.   124.      EKT  G. 


Jld       :d 

( I  0  le,      two, 


Id 

three. 


Bound  in  three  parts, 

:d      lt|.t|:t,      |d.d:d      I  m      :n      |n      :n 

four,     1  keep  the  time,  keep  the  time,    |One        two,      three,     four, 


\|S,S«S,S«S 
dxrala    la    la    la 


Ex.  125.    KEY  A. 


.  PI 

la 


d 

la 


.  m 

la 


la. 


llound  in  four  parts. 
* 


<|8,,8,.s,,s,:d       .d      |r,r.r,r:n 

(JBeauty    in  the  wood  -  land,    (Beauty  in    the  glen; 


Ex.  126.     KKY  F.    Round  in  four  parts. 


II 


d , d.d,d:n     .n 

51ei  ri  -  ly  the  bells     are 


r      .r 

ring  -  ing 


:  n 

near; 


0s,s.8,s:s      .8         |8,8.s,s:s 

ilListen    to  the  hells!  how  |  mer-ri  -  ly  they  nng! 


S|,  8|.  S|,S|  :8|      .  8| 
iTra  la      la    la    la         la 


A.  L.  C. 

r  .  r  :s       |  n  .n:  pi 

Voices  chime,     voices  chime. 


d 

la 


|8,  8  .  8,  s  :d,  d.  d.  dlti,  t|.  t|,t|:d 

iBeauty  in    the  fertile  meadow|And  the  marshy  fen. 


PI ,  PI .  PI ,  PI :  8      .8        1 1|      .  t( 

Cheeri  -  ly  the  birds    are         jsing    -    ing 


:d 

here. 


d  ,  d  .  d ,  d :  d     .  d       I  s, ,  8| .  S| ,  8| :  d 

Listen    to  the  birds !    how      Icheeri  -  ly  they  sing. 


'f. 


half-pulse, 


tune. 


SAA 


A.  S.  KnsTFER 

Ex.  127.    ketG. 

S        .  8 

:8 

n       .  PI 

:n 

1.  Love-ly 

May, 

2.  Hap  -  py 

May, 

3.  Balm  -  v 

MllV, 

d'     .d' 

:d' 

d      .d 

:d 

r«       .r' 

:r' 

t       .s 

:  • 

Et     -    erj'    • 

.  where 

On          the 

hill. 

Buds      and 

flow'rs 

t         .t 

:t 

8       :8 

:■ 

LOVELY  MAY. 


8,S«8,S    (S 

PI ,  PI .  PI ,  PI :  PI 

oier-ry,  merry  May! 
mer-ry,  merry  May! 
mer-rj',    merry  May! 

d',  d'.d',d':d' 
d,d.d,d:d 

r',  r'.r',  r':r' 

8,8  .8,8:8 

thro'  the  balmy  air 
by  the  shining  rill 
thro'  the  sunny  hours, 
t,t  .  t,t  '\ 

8,8  .  U  tS  t  a 


m 

.  PI 

:8 

.  a' 

a' 

n 

.d 

:  PI 

.  PI 

m 

Bird 

-    lets 

now 

are 

smg 

With 

our 

songs 

we 

greet 

How 

we 

love 

thy 

glad 

d' 

.8 

:d> 

.  8 

8 

d 

.d 

:d 

.d 

S 

PI' 

.r' 

:d' 

.t 

d> 

8 

.  8 

:  PI 

.r 

m 

Songs 

of 

pleaa 

-  ure 

ring! 

Now 

we 

wel 

.  come 

thee; 

Ope 

their 

scent 

•  «d 

leaves; 

d' 

.t 

:d' 

.8 

8 

8 

.  8 

:  8 

.b 

d 

B.  G.  Umsku). 


:t 
:r 

ing, 
thee 
nesa, 

:8 

:s 


Tmnmiammmgmmmmm 


S2 


SECOND  STEP. 


s 

.s 

:  n 

.n 

s 

.8 

:d' 

m 

.  n 

:d 

.d 

PI 

.  n 

:  m 

\¥el 

-  come, 

wel 

-     come 

love 

-  ly 

May, 

d' 

.d' 

:s 

.S 

d' 

.d' 

:  8 

d 

.d 

:d 

.d 

d 

.d 

:d 

s 

.8 

:  m 

.  m 

s 

.8 

:  n' 

m 

.  n 

:d 

.d 

m 

.  n 

:8 

Wel 

-  coiue, 

wol 

-     come 

love 

-   ly 

May, 

d' 

.di 

:s 

.  S 

di 

.d' 

:d' 

d 

.d 

:d 

.d 

d 

.d 

:d 

t  ,t  .  t  ,t  :  r' 
r  ,r  .  r  ,r  :  r 

Merry  merry     May, 
S  yS    •  S  yS     •  s 
S  )S    t  8  j8     t  8 

n',in'.n',n':r'  ,r'  .r'  ,r' 

S  ^S  to  yS  •  S  yS  •  S  )S 

Merry,  merry,  merry,  merry 

d',d'  .d',  d':t  ,t  .t  ,t 


d',d' .  d',d'  :  n' 
n,n  .  n,n  t  n 

merry,  merry     May; 

d',d'  .  d',d'  :  d> 
d  ,d  .  d  ,d  :  d 

d'  :  — 

m  :  — 

May. 

d'  :- 

d  :  — 


Modulator  Voluntaries,  Ear  Exebcises,  Dictation, 
Pointing  and  Writing  from  Memory,  as  described  in  the  first  step 
are  to  be  practiced  regularly  at  every  lesson.  Pulse  and  a  half 
tones,  tpiarter  pulse  tones  and  silences,  as  in  the  following  ex- 
ample— 

d  !-    .r|n         :  |n,in.i»i,in: n    .r     |d         :  —    l| 

TouJd  be  dictated  thus,  "TBAAd,"  "— aatai  r,"  "tlaa  m,"  "SAA," 


"tafatefe  n  m  n  m,"  "taatai  m  r,"  "txaa-aa  d." 

Certificates.— Pupils  now  bej^in  to  make  up  their  list  of 
three  tunes  for  the  Junior  School  Certificate  or  six  tunes  for  Lhe 
Elementary  Certificate.  No  tune  of  less  than  eight  loui-pii'st? 
measures  or  sixteen  two-pulse  measures  should  be  ac'.'epted.  F>  r 
instructions  in  Voice  Training,  Breathing,  Harmony,  etc,  be- 
louf^ing  to  this  step,  the  teacher  will  consult  the  StaudarcJ 
Course.  * 


QUESTIONS   FOR  WRITTEN   OR   ORAL   EXAMINATION. 


1.  What  two  ne ./  tunes  have  you  learned  in  thin 
Rtep ) 

3.  What  Is  the  relative  position  of  Ray  to  Doh  t 

3.  What  is  the  relative  position  of  Te  to  Doht 

4.  What  is  the  mental  effect  of  Ray^ 

5.  What  is  the  mental  effect  of  Tcf 

6.  What  is  the  manual  sicn  Ray  t  For  on«-Ray^ 

7.  What  is  the  manual  sign  for  "^tt  For  Te-onti 

8.  What  chord  is  fomieil  of  the  tones  d  ni   it 

9.  What  chord  is  formed  of  the  toues  s  t  r  t 


DOCTRINE. 

10.  What  now  kind  of  accent  have  yon  learned  in 

this  Htop? 

11.  How  Is  the  medium  accent  indicated  in  the  no- 

tation t 

12.  How  in  the  medium   accent  indicated  in  the 

time-names? 

13.  What  two  new  kindn  of   measure  have  you 

learned  in  this  stop? 

14.  What  is  the  order   of  accents  in  four-pulse 

measure?  | 

15.  What  is  the  order  of  accents  in  six-pulse  meas*  |  83. 

ure?  I 


16. 
17. 

Itj. 

19 

ao. 

31. 


What  is  the  time-name  for  a  silent  pulse  I 
How  \i  it  indloated  in  the  notation  ? 
What  is  the  time-name  of  a  piilsu-and-a-half- 
tone? 

How  i.s  it  indicated  in  the  notjition  ? 

What  is  the  time-name  of  four  qiiarter-pal8» 

tones? 
What  is  the  time-nanio  of  the  first  quarter  ot 

a  pulse?      The  second?     The  third?      The 

fourth  ) 

Bow  are  q  laiter  pulses  indicated  in  the  aiUir 
tion? 


t3.  Sin);  to  la  the  Ray  and  the  Te,  to  any  Doh  the 
teacher  gives. 

84.  Ditto  the  Ra;t'  nnd  Te  to  any  Doh'. 

85.  Taatai  from   luuniiiry  any  one  of  Kxs,  1011  to 

106,  ll.'i  to  117,  cliimeu  by  the  teacher, 

46.  Tatttai  the  upper  part  of  one  of  the  Kxs.  131 
or  137,  chosen  l)y  the  teacher. 

87.  Taatai-tn-tune  the  upper  part  of  Exs.  113  or 

114,  chosen  by  the  teacher. 

88.  Point  on  the  Modulator  (MoMuinic)  nny  one  of 

the  following  four  Exs.  lu,  i'i.  !)J,  95,  chosen 
1>y  the  teacher. 


PRACTICE. 

29.  Write  from  memory  any  other  of  these  exer- 
cisoH  oho!4un  by  the  teoclier. 

30  Follow  the  teacher's  pointing  in  a  new  volun- 
tary, containing  Doh,  Me,  Hoh,  Te  and  Ray. 
but  no  difficulties  of  time. 

31.  From  any  phrase  (belimging  to  this  step)snng 
to  figures,  tell  your  teacher  (or  writfl  down) 
which  flguro  was  sung  to  Ray,— to  Ray' ,~ 
to  T«,— to  r«|. 

38.  Having  heard  the  tonic  chord,  tell  your  tench 
er{(or  write  down)  which  tone (i>oA,  Jf«.  Soh, 
Te  or  Ray)  was  sung  to  la.  Do  this  with 
two  dlfferunt  tones. 


J3.  Taatai  any  Rhythm  of  at  least  two  measure* 
belonging  to  this  ntep  which  the  t<>aoher 
shall  Ja  lo  you,  Ho  will  tirst  give  you  the 
measure  and  rate  of  movement  by  tuatainf; 
two  |dain  mca.sures  and  marking  the  accent 
by  r  and  I  without  beating  time,  but  the  twv^ 
nieaHures  you  have  to  ct^py  he  wiil  simply  ia< 
on  one  tone. 

34  Taatai-intune  nny  Rhythm  of  at   least  tw> 
measures,   belonging  to  this  Htep,  which,  a^ 
ter  giving  the  measuro  and   rate  as  above, 
the  teacher  may  <(>!  fa  to  you. 


their  list  of 

;unes  for  Ibo 
it  fouvpr.lsfc' 
ieptt.d.  F<-r 
m]j,  oto,  bd- 
le   StaudtircJ 


jDt  pulse  f 

Ion? 

ilflu-and-a-half- 

.ion  t 
quarter-pnls* 

I'Rt  (|iiarter  of 
i  third?     The 

9(1  In  the  n*tar 


two  meMure* 
h  the  tt-aoher 
glvu  you  the 
t\t  by  tuatainK 
in^r  tho  accent 
ne,  but  the  twcv 
u  wiilHimplylO' 

at   loant  tw' 
it«p,  which,  afv- 
rate  as  abore^ 


^ 


33 


THIRD   STEP. 

Ttu  VTQ'ninent  topics  of  the  Third  Step  are  as  foUows—The  tones  Fah  and  Lah,  completing  the  Scale.  The  Standard  Scale,  To  pitch 
tunes.  Glasaification  of  wicea.  The  Metronome.  The  Half-pulse  Silence.  Various  combinations  of  Quarter-pulses.  Syncopation.  Modifi- 
•>ation  of  merUal  effects. 


f 

n' 

r' 

DOH' 
TE 

LAH 
SOH 

FAH 


li.kY 

DOH 

ti 

li 
•i 


The  tones  Fah  and  Lah  are  now  to  be  taught. 
The  method  for  doing  this  need  not  be  described, 
the  same  process  which  was  used  for  r  and  t  will 
be  used  for  the  new  tones,  see  p.  15.  The  mental 
effect  of  Fah,  a  gloomy,  serious,  desolate  tone  and 
of  Lah,  a  sorrowful,  weeping  tone,  may  be  shown 
by  the  following  examples. 


d 

In 

n 


KEY  C  or 

D. 

d    :s 

1  n 

:d 

If 

d'    :m 

|s 

:d' 

If 

d    :n 

|r 

:s 

If 

ESY  G. 

d    :s 

In 

:d 

% 

Id 


Ex.   128.      KEY  C. 

d  :m  :8   If  :1    :d'  I  s   :t 


:r' 


11 


Ex.   129.      KEY  C. 

u     :r      Is 


n 


:s 


n 


f 
di 


:1 
:1 


d' 
f 


Ex.  130.      KEY  A. 

d  :n  :d  |1|  :f|   :1|  U,  :t|  :r  Id 


jid  :n  :d  |1|  :f|   :1|  Is,  :t|  :r  I 


Ex.  131. 

(Id      ts, 
(I  m     :d 


KEY  G. 

In 


S|     :d 


:d 


If 


KEY  C  or  U. 

Id    :in 

is 

:n 

11 

•  — — 

Is 

1  d    :n 

Is 

:rn 

Id' 

:t 

11 

KEY  G, 

1  d     :p\ 

|r 

:1, 

Id 

:t, 

11, 

Id    :r 

1  m 

:d 

\l 

•  __ 

Is, 

After  the  mental  effects  of  the  new  tones  are  developed  and 
their  appropriate  hand-signs  tiiuc;ht,  the  tones  are  then  to  be 
thoroughly  practiced,  from  the  modulator,  hand-signs,  ear  exer- 
cises, &c.  The  chord  of  FAH,  or  Sub-Dominant,  consisting  of  the 
tones  f  1  d',  may  be  brought  out.  See  chords  of  DOH  and 
SOH,  page  16.  The  chord  of  Seven-Soh  ('S)  or  Dominant  Sev- 
imih,  consisting  of  th«  tones  s  t  r  i;  although  belonging  to  th» 
Fourth  Step,  may  be  taught  at  this  point. 

The  following  exercises  should  be  carefully  tanght  by  pat 
tern  from  the  modulator. 


d'  :— :-|r'  :t    ts    |d'  :1    :f    js 


n  id  : — 


I 


:1 
:1 


:t 


:s 


:t 


:r' 


di 
d> 


II 


-   |d  :8|   :in,|d  :1|   :fi  Ir  :t|  ts.  Id  :-    :- 


:d 


:t, 


:r 


:f 
:t, 


n      :  — 


d     :—    I-    :— 


|a    =-  I 


I 


34 


TUIRD    STEP. 


The  Scale.  After  the  tones  drnfsltd'  have  been 
song  in  successive  order,  the  teacher  will  explain  that  this 
series  of  tones  is  called  the  Scale.  Each  tone  of  the  scale 
dififers  from  the  others  in  pitch.  By  "pitch"  is  meant  the  high- 
ness or  lowness  of  tones.  It  may  be  observed  that  the  eighth 
tone  above  or  below  any  given  tone  has  the  same  mental  effect 
and  the  same  name.  The  two  tones  are  so  nearly  alike  in  char- 
acter that  the  ear  accepts  them  as  relatively  the  same  notwith- 
standing the  difference  of  pitch.  They  are  lleplicates  or  Octaves 
one  of  the  other.  The  word  octave  sometimes  means  a  sel  of 
eight  tones,  sometimes  the  eighth  tone  and  sometimes  the  differ- 
ence of  pitch  or  distance  between  the  two  tones.  The  teacher 
will  question  the  class  thoroughly  in  regard  to  the  scale — 
"Which  is  the  third  tone?"  Me.  "The  fifth  tone?"  Soh. 
"The  second  tone?"  Ray — and  so  on.;  also  questions  in  regard 
to  the  mental  effects  and  hand-signs.  He  will  explain  that 
d  n  and  a  are  readily  distinguished  as  the  strong,  bold  tones  of 
the  scale,  and  r  f  1  and  t  as  the  leaning  tones,  t  and  f  have  t)ie 
strongest  leaning  or  leading  tendency,  t  leading  upward  to  d 
and  f  leading  downward  to  n.  The  most  important  tone  oft; 
scale,  the  strongest,  most  restful,  the  governing  tone,  is  callo 
the  Key-tone.  A  key-tone  with  the  tones  related  to  it  or  belong- 
ing to  it  is  called  a  key.  A  distinction  is  made  between  "key" 
and  "scale".  A  Key  is  a  family  of  related  tones  consisting  of  a 
key-tone  with  six  related  tones  and  their  replicates.  A  scale  is 
the  tones  of  a  key  arranged  in  successive  order  ascending  or 
descending.  The  intervals  of  the  scale,  large  and  small  steps,  &c., 
will  be  exjilained  in  the  Fourth  Step. 

The  Standard  Scale.  The  teacher  will  show  by  prac- 
tical examples  that  the  scale  may  be  sung  at  different  pitches. 
Any  conceivable  pitch  may  bo  taken  as  the  key-tone,  und  the 
other  related  tones  will  readily  take  their  proper  places.  It  is 
aeoessary  to  have  one  particular  scale  of  pitch  as  a  standard 
from    which    all    the    othei-s    are    to    be   reckoned.      This 


scale  is  called  The  Standard  Sc^le,  (commonly 
known  us  Natural  Scale).  The  particular  degree 
of  pitch  which  is  taken  as  the  key-tone  of  the 
Standard  Scale  is  named  C,  liay  is  D,  Me  is  E,  Fah 
is  F  and  so  on  as  shown  in  the  diagram.  These 
pitch-names  (letters)  of  the  Standard  Scale  should 
be  thoroughly  committed  to  memory.  The  correct 
pitch  of  this  scale  may  be  obtained  from  a  piano 
or  organ,  or  any  of  the  common  musical  instru- 
ments properly  tuned,  or,  for  ordinary  vocal  pur- 
poses from  a  C '  tuning-fork.  It  is  a  great  advantage 
to  have  one  tone  in  absolute  pitch  fixed  on  the 
memory  and  it  is  more  easy  to  do  this  than  is  com- 
mouly  supposed.  The  teacher  will  frequently  ask 
the  pupils  to  sing  C  (which  in  a  man's  voice  is 
really  C)  and  then  tests  them  with  tlie  tuning-fork. 
In  this  way  the  power  of  recollection  is  soon  de- 
veloped. In  estimating  the  chances  of  certainty, 
ho  vever,  we  should  always  bear  in  mind  that  any 
bo  lily  or  mental  depression  has  a  tendency  to  flat- 
•  even  our  recollection.  Any  pitch  of  the  Stand- 
;  Scale  may  be  taken  as  a  key-tone.  A  scale  or 
y  iH  named  from  the  letter  taken  as  the  key-tone, 
xiie  different  keys  are  indicated  in  the  notation  by 
the  signatures  "Key  C,"  "Key  G  "  and  so  on. 

To  pitch  tunes.  Up  to  this  point  the  teach- 
er has  fixed  the  pitch  of  the  key-tone.  The  pupils 
themselves  should  now  learn  to  do  it  in  turn.  The 
pupil  strikes  the  C  tuning-fork  and  taking  the 
tone  it  gives,  sings  down  the  scale  to  the  tone  he 
wants.  This  tone  he  swells  out,  i  \A  then  repeats 
it  to  the  syllable  doh,  and  perhaps  sings  the  scale 
or  chord  of  DOH  to  confirm  the  key.  Farther 
instructions  on  pitching  tunes  in  the  Fourth  Step. 


d'— C 
t— B 


1— A 


s— G 


f— F 
m— E 


r— D 


d— C 


II 


Ex.  132.    KV.Y  G. 

Round  in  three  parts. 

d  :d     f    :m 

C!ome  now,  let   us 

* 

r    :8     n   :— |d  :d 

merry       be,            |  Fill  our 

1,    :d 

souls  with 

t|   :t|     d 

mirth  and  glee. 

d    :d    |f|     :f; 

,  Hearts  and  voi-ces 


8| 
all 


:si 


Id 

gree. 


Ex.133.    KEY  C.    Round  in  four  parts. 


t 


:s 

d' 

:di 

If 

hap  - 

pi 

1 

tt 

may 

be 

w 

ness 


has 


not 


her 


or 


n 

rich 


:8 

or 


Id' 

seat, 

|d> 

great, 


Ex.  134.    KKV  G.    Round  fo.  throe  parts. 


US     I 

(What  I 

<|  mor 


8      :  — 

you've 

:d      :ti 


to 


1 

do 


row 


d 

stay ! 


-    :8 

get 

:d      id 

There's!  al 


done 


:d' 

And 

11 

jcen  - 

:1 

tre 

t 

in 

:t        di      :  — 

the        breast. 

:s 

But 

1 
nev 

:f 

-    er 

r 

can 

:s 

be 

d 

blest. 

to  - 

m 

day  ' 

• 
• 

* 

:n    1 

And   1 

do 

:d 

not 

:d 

ways 

f, 
dan 

•         1 

• 

:d 

-  ger 

8.      :  — 

in 

:s, 

de 

:8 

We 


f      :  — 

for 

Id 

-  I  lay! 


to    -i 


1— A 


s— G 


r-D 


d-0 


THIRD   STEP. 


85 


Ex.  135.    KET  D.    Botmd  in  two  parts. 

d      :r       In      :f 


Now      we 

d<     :s 

bye,     then, 


say        fare 


S 
well. 


:s       lt|       :r      |s 

good      I  bye      then,      All 


Our 


:8 

an 


f       :8 

pleas  -  ant 


U        :t 

work 


1 

til 


:s 

to 


If 

inor 


18 


:r 

row's 


Id' 

[done; 


d 

sun. 


U. 

:s 

Good 


11 


Ex.  136.    KEY  F.     Hound  in  three  parts. 

s    : —  :1     Is    :—  :n   |s    :~  :1 

With 


the    Spring  -  time  |  comes      the    rob 


8    :  — 


:m   Is    :f    :m   |r    :n   :f    Im  :—  : 

in     I  Singing     his    oheertui     re  -  |  frain, 


* 


jl  m   :—  :f     In  : 

{ I  Sing  a  -    way 


:d    In  :—  :f    i  n  : 

you  I  hap     -     py     bird 


:d    In  :r    :d    |ti  :d    :r 

ling,   I  Bring  us  the  Spring-time  a 


d   : 

gain. 


II 


II 


11 


d    :— :      |d  :—  :      Id  :—  .      !d    : 

Hark!  hark!  |hark!  hark! 


Ex.  137.    KEY  D.    Round  in  two  parts. 


S|   :S|   :S|   |S|  :8|    :S|    Id   :  — 

Hear  the   met  -  o  -  di  -  ous   I  strain. 


* 


d  :r    :n    If    :—  ts    |1     :—  :t     id'   :—  :8    Id'    ;t    :d'  ll    : 

Who  sows  good' seed  in    I  fruit     -     ful     I  loam.       Shall  I  bear         with  |  joy 


—  :s    if    :n    :r   id   :—  : 

the  I  har    -      vest  j  home. 


Ex.  138.    KEY  C.    liound  in  two  parts. 

f       :-.f|n 


d'     :-.d'|t       :d' 

While         we  I  meet      in 


peace 


a  -|  gam. 


d    .  :-  .dlf       :m 

Sing  witli|  joy        the 


t       :-.t|d      : 

grvte     -      ful  I  strain. 


:s 

We 


:n     I 

to    -S 


Ex.  139.    KEY  D.    Round  in  three  parts. 


il 


S 
Hark! 


:t 

how 


d'         :d'  .d'  It   .1     :8   .f    In  .r    :d 

pleas    -   ant,    the  |  merry        chiming   |  of     the    bells. 


Ex.  140.    KEY  D.    Round  in  two  parts. 


n 

If 


:n 

the 


1 1  ilL 


:8 

er 


f      :n 

weath-er 


|8 
have 


|n     :n 

keeps    so 


f      :n 

storm  -  y 


I  n     :n 

and      the 


:8 

the 


1>. 

I  pnv 


:8 

i 


lege 


:8 

of 


S 

Sweet 


:s 


f      :n     |d     :r      in 

rain     comes  down    like     |  that. 


1         :8 

wear  -    ing 


in 

my 


8  :n 

peal    •     ing. 


r.  F.  S. 


In      :        |8      :s      j 

(that,  I        ahall      S 


:8 

new 


d' 

Lai. 


\ 


% 


THIRD  STEP 

• 

1 

Ex.  14 

:s 

1.0 
2.  The 

:n 

1.       KKT  C. 

1       :s 

sweet    to 
plow  -  man 

f      :n 

n      :8 

me        the 
drives  bis 

d      :n 

1       :s 

gen  .    tie 
shin  -  ing 

f      :n 

m      :8 

spring,  When 
share      A     - 

d      :m 

1       :1        t      :t 

earth    is         robed    in 
cross    the       mel   -    low 

f      :f        r      :r 

T. 

d'      :—      -- 

flowers, 
lea, 

PI      :—      — 

F.  S. 

:d'     ^ 

And     f 
And     ( 

:n 

11 

t 

beau  - 
lays 

8 

:1         s 

ti     -      ful 
the         fur 

;f         rn 

:di 

the 
rows 

:n 

t        :1 

sum  -    mer 
broad     and 

s        :f 

8        :1 

time,      With 
fair,        As 

R       :f 

8        :in         f        :8 

all           its          leaf    -      y 
waves      up    -     on            the 

m       :d         r        :pi 

n       :  — 

bowers, 
sea. 

d  '     : 

1  — 

1 

Kx.   142.      KKY  6. 


n  :—  :m 

All  that 

d  :—  :d 


s    : 

now 

m  : 


:in 

so 

:d 


PI  : —  :  PI 

8    :  — 

:pi 

All            our 

doubts 

iiud 

d  :-  :d 

PI  :  — 

:d 

Ex.  143.    KEY  Ell. 

8  :—  :—  I  PI  :f  :8 

Far  out     in  the 

PI  :—  :—  Id  :r  :n 


PI  : 

Sweet 

d  : 


f    ; 

Ir   : 


d   : 

dark 

Pii  : 


d    : 

all 

Pii  : 


1     : 

wild 

f    : 


gift 
n 


:d 

ap- 

:p1i 
:d 

our 


n   :- 

pears, 

8i   :- 


PI    : 

fears 
Si    :- 


-  :d 

While 

-  :p1| 


1,    :— :d 

earth's      dark 


:d    111    : 

\  ill  ji^e 

:ni  lf|    : 


:d 

made 

:1. 


f    :- 

shad 

li   :- 
f    : 

clear 

li    : 


11    :-  :- 

wood. 

If    :-  :- 

II    :       : 

kind 

If    :       : 


:li 

ows 

:f| 


:1| 

in 

:f, 


:1 


8t  :d    :n 


dim 

pii  :si 


the 

:d 


:-) 


d'  :t     :1    jdi  :t 

Beauti  -    ful      flowers      are 

1    :8    :f    11    :8    :f 


S|  jjn    :  r 

heav    -    en's 
Pl|  :si     :f| 


8    :- 

grow 

PI  :- 


8    :1    :s 

Na  -  ture 

m   :f    :n 


IS 


If   :s    :f 

ev  - er      be  - 

r    :n  :r 


PI  : 

stow 

d  : 


S 


Ex.  144.      KET  C- 

8  :8     :s    1 8    : 

Beauti  -  ful    month 

PI  :n    :pi   |  pi  :■ 


BEAUTIFUL  MONTH  OP  MAY. 


T.  F.  S. 

r    :—  :  — 

sight, 

t,  :- 
d    :-: 

light. 

pii  :—  : 

T.  F.  s. 
PI   :  — 

d    :- 

1  PI  :  — 

ing. 

d    :- 

T.  F.  8. 


FINE. 


:s 

of 

:n 


:d' 

'Tis 
Oh! 
With 


:n 


t    :— :1    |8    : 

then         the  flow'rs 
how  I      love 

joy  thy  glad 

8  :—  :f    In 


Pl' 

1             • 
•             • 

•             • 

r 

1    .pl   .J.!     n'  :  — 

:r' 

d'  :- 

• 

•            • 

May, 

beau-ti  -    ful     month 

of 

May, 

B        •             •  "■ 

•             • 

f    :f    :f     8    :- 

:f 

PI  :  — 

•            • 

:1 

8    :  — 

:f    !n  :  — 

:d' 

t    :  —  :  1     8    :  - 

-:1 

8    :- 

-  :f      Pl  :• 

be- 

gin 

to     bloom. 

And 

bios  -    soms    shed 

a 

sweet 

per  -  fume. 

thy 

skies 

so     bhie. 

Thy 

lil    -     ies        and 

thy 

vio    - 

-  lets    too. 

re  - 

turn 

we     greet, 

No 

oth    -     er        month 

IS 

half 

as      sweet. 

:f 

n  :  — 

:r     d   :  — 

:pi 

8    :—  :f     n  :- 

-:f 

n   :- 

-:r    'd    :- 

D.  C. 


Da  Capo,  abbreviated  D.  0.  means  repeat  from  the  beginning,  ending  at  the  word  FINE. 


s. 
d> 

\nd 
\nd 

n 


^  s. 


:-) 


FINE. 


D.  C* 


Ex.  145.      KEY  C. 


w    .n 

:n 

.f 

S 

l.In    the 

ear  - 

ly 

Spring 

2.  Sun-ny 

lit    ■ 

tie 

bios 

d     .d 

:d 

.r 

n 

1     .d' 

:t 

.1 

s 

sweet- ly 

And 

the 

soft 

teach  U8 

If 

they 

could 

f       .1 

:s 

.f 

n 

:di 

time, 
Bom 

:m 


THIKD  STEP. 
THE   DAISY. 

n     .n     :n    .f 

When  the      vio  -  lets 
On       their   slen  -  dor 

d     .d     :d    .r 


87 


:pi 

r 

winds 

blow; 

but 

tnlk; 

:d 

t| 

s 

grow; 
stalk, 

m 


s      .8 

Gomes  the 
Ev    -  er 

t|      .t| 


T.  F.  Sewabd. 
.8       :8        .8 


When  the    birds   sing    f_ 
How    much  they  would  f 


n     .n    :n 


m 


8    .8    :d*  .d' 

Blooming  fresh  and 
All    the    live  -  long 

n  .n    :n   .n 


Ex.  146.    KE.  E. 


fair, 
day, 

8 


n'  .n'  :d'  .d' 

Springing  bright  and 
Bright  their  fa-  ces 

8.8     :n   .  rn 


1    .d'  :t    .1 

joy -CUB  from  its 
turn  to    ciitch  each 

f    .1    :8    .f 


:t     .t 

r 

:8 

lit    -  tie 

dai 

- 

sy 

look  -  ing 

up 

- 

ward 

:r     .r 

f 

J^ 

s           :t   • 

d' 

• 

moun    -    tain 

lair. 

sun       -    beam's 

ray. 

m         :f 

m 

• 

[ 


HOPE   ON,  AND   HOPE  EVER. 


':d 

l1.  Hope 
h.  Hope 
h.  Hope 

.:d 


n  :d 

on,  and 

on,  and 

on,  and 

m  :d 


in 

hope 
hope 
hope 

:n 


ev 
ev 
ev 


:n 

er, 
er, 
er, 

:n 


:8 

our 
.  o 
the 

:n 


1   :1 

watch  -  word 
mat    -  ter 
heart's  se    - 

f        :f 


:t 

shall 
what 
cret 

:f 


d'      : 

be, 

comes, 

Earing 

n      : 


8 

:f 

:n 

n 

— 

• 
• 

r 

• 
• 

:r 

r 

:n 

life's 
sor    - 
life's 

troub 
row's 
earn 

.  led 
deep 

-    est 

bii 

pla 
du 

•• 

- 

lows: 
ces; 

ty. 

We'll 

The 

'Twill 

nev    -    er 
hour       be 
lift          us 

ti 

:r 

:d 

d       : 

— 

• 

t,       : 

:t, 

ti       :d 

m 

:n 

:f 

8        :■ 

:8 

d'       :t 

:1 

8        :f 

clouds 
dark  - 
sor    - 

may 

est 

row 

look 
they 
and 

daric, 

say, 

tears, 

Or 

Thus 
To 

hang      our 
dark  -  nesa 
vis    -     ions 

m       :8 

bright 

and 

of 

harps     on 
night     in 
grand  -  eur 

d 

:d 

:r 

m       : 

— 

:m 

:f 

n      :r 

t 

• 

:t 

d> 

:t 

:1 

8 

:f        :n 

r 

,  lows, 
'  ces, 

ty 

Or 

Thus 

To 

hong 
dark 
via    - 

our 
-  neu 
ionfi 

brig 
1        and 
of 

ht 

harps 
night 
grand  - 

on            the 
in      -      ter     - 
eur           and 

wil 

la 

bean 

.  X 

« 

:f 

m 

:r 

:d 

n 

:r        :d 

t, 

:s 

While 
While 
•Twill 

:n 
:f 

de     - 

fore 

from 

:r 

:n 

the 
ter     - 
and 

:d 


d      :t 

Kiil  -    ing 
w.vad-'ring 
help     us 

n      :r 


:1 


oer 

thro' 

in 


:d 


f  :n  :r 

spair  though  the 

day  is  the 

an    -  guish  and 


:d 


:t, 


1 

wil 

la 

beau 

f 


n 

lows, 
ces. 

ty. 
i 


38 


THIRD 

STEP. 

Ex.  147.    UT  Bk 
8|      :—        d 

li       :- 

-     Ir 

:d 

t|       :—       m 

:r 

d        —      f       :n 

:           di 

« 

fi        :  n,      r, 

• 

8|       :f|       iPii 

li       :8i        f,       :  — 

r      :—       8 

:f 

m       :- 

- 

• 
• 

li        :-       t, 

• 
• 

d                           : 

t,      :1|         8, 

d        :- 

— 

• 
• 

fi       :  n,        r. 

:8, 

d|       :—               : 

Ex.  148.    KIT  F. 

• 

THE  CRICKfiT. 

T.  F.  Sewaed. 

s          :s 

Chirp,      chirp, 

• 
• 

t 

8 
chirp. 

:s 

chirp, 

• 
• 

• 
• 

m  .8 

Lit-tle 
LiUh 

d  .PI 
d 

Chirp, 

:1     .8 

cricket, 
cricket, 

:f    .PI 

• 
• 

m  .8    :1    .8 

full  of       mirth, 
tell  me,     pray, 

d  .n   :f    .PI 
d         : 

chirp. 

PI  .  d    :  1|    .  8| 

Chirping  on    the 
Why  you  sing  both 

S|  .  Pli  :f|   .  Pii 
d          : 

chirp, 

PI  .d    :1{  »8\ 

kitchen       hearth, 
night  and    day, 

3i    .  Hi  :f|   .  PI 
d          : 

chirp,. 

m  .8    :1    .8 

Whereso-e'er    be 
Did  you  know  we 

d   .m    :f    .PI 
d         : 

chirp. 

m  .8 

thine  a  - 
love  to 

d  .m 
d 

chirp. 

:1    .8 

bode, 
hear 

:f    .n 

• 
• 

PI  .d    :1|    .S| 

Al  -  ways  har  -  bin- 
Chirping  forth  your 

8|    .  Pli    :f|     .  Pli 

d          : 

chirp. 

1,  .d    :d 

ger   of      good, 
notes  of    cheer. 

f,  .f,    :m, 
d         :d 

chirp,       chirp. 

PI  .PI   : 

Pay  me 
If      like 

8|    .8|    : 

d         : 

chirp. 

PI  .n 

for    thy 
you  we'd 

8|    .S| 

1 

PI  .PI    :r   .d 

warm  re  -  treat, 
live     in    song, 

S|    .  S|     :f|    .PI 

d 

ohiri>. 

r 

8| 


d, 


8     .8      .8      .8 

With  a    song  more 
Work  and  sing  the 

m  .  n   :p)  .pi 
d         : 

chirp, 


8.8    :  f ^Pi 

soft  and    sweet, 
whole  day  long, 

PI  .  n  :  r ^d 

d         : 

chirp, 


PI  .8    :1     .8 

In    re  -  turn  thou 
What  a    deal    of 

d  .n   :f    .PI 
d         : 

chirp. 


PI  .8     :1 ^ 

shalt  re  -   ceive 
good  we'd  do 

d  .n    :f    .PI 
d 

chirp. 


PI  .d    :1|    .8| 

Such  a    song     as 
In   the  world  we're 

8|  .  Pi|  :f|    .  Pi| 
d  : 

chirp. 


1,   .d  :d 

I      can  give, 

passing  through. 

fi  .f,  :pi, 

d  :d 

chirp,         chirp. 


f, 


WORK  WHILE  YOU  WORK. 


Ex.  149. 

KET  F. 

d 

:n 

.d 

I.  Work 

while 

you 

ii.One 

thing 

each 

d 

:d 

.d 

B,  C.     ork 

while 

yon 

d 

:d 

.d 

8 

work, 
time 

PI 

work, 

d 


f 

:n    .n 

r 

play 
done 

while  yon 
ve    -  ry 

play, 
well 

r 

:d     .d 

t, 

play 

while  you 

piny. 

t. 

:d     .d 

S| 

T. 

F. 

S. 

d    .r 

:m 

.f 

That 

is 

the 

Makes 

a 

good 

d    .t, 

:d 

.r 

That 

is 

the 

d 

:d 

.d 

TumD  ETTEP. 


89 


s    .1 

way 
max    - 

n  .f 

way 

d 
f 

do 

tri    -    - 

r 

Ex.  150. 


to 
im, 

:m 

to 

:d 


.f 

be 
as 

.r 

be 

.d 


n 

cheer 
ma    • 

d 

cheer 
Si 


:r 

ful 
.  ny 

:t, 

ful 

:si 


.r 

and 
can 

.t, 
and 

.S| 


d 

gay; 

tell; 

d 

gay- 
d 


FINE. 


r 

:r     .r 

r 

AU 

that    you 

do 

Mo    - 

•    ments  are 

worth 

t| 

:t|    .t| 

t. 

:S|    .S| 


:r     .n    \ 

learn  to      / 
-  less  whan  ^^ 

:ti    .d 


8| 


:S|    .S| 


:n  .  n 

r           : 

m 

:n    .m 

s          : 

-   .m 

d  .d    :n 

r 

with  your 

might, 

Things 

done    by 

halves 

are 

nev - er      done 

right; 

fled    a- 

way. 

Work 

if          you 

work, 

and 

play  if      you 

play; 

:d  .d 

t,          : 

d 

:d    .d 

n         : 

-   .d 

S|  .S|    :d 

t, 

:B|  .8 

S;             : 

d 

:d    .d 

d          : 

-  .d 

n  .n    :d 

8| 

D.C. 


KEY  BL 

:d     .1, 


n    .r 

1.  Tell  me,  Spring,  with 
•2.  "  Youth,"  the  gen-tle 

S|     .f{  :mi   .f| 

d|    .d|  :d|    .d| 

S|     .Hi  :S| 

rich    and     rare, 
bove  the      skies 


pij    .  d| 
d|    .d| 


:d, 


S|      .  Pli 

balm  -  y 
Spring  re 

pi|   .d| 
d|    .d| 

d    .  m 

Bloom  to 
Nev  -  er 

P1|     .S|- 

di    .d| 


air, 
-  plies, 

:mi 
:d| 

:r     . 

fade 
fade 

:f,     . 

:S|     . 


TELL  ME,  SPRING. 

d     .r     :ri 

Vio  -  lets     blue, 
"Quickly    fades, 

pii   .fi     :si 


n 

a 
a 

S| 
S, 


d|    .d|  :d 

d  : 

way? 
way. 

Hi  : 

d,  : 


d     .  m    :r 

sweet  and    fair, 
quick-ly        flies, 

Hi    .  d     :t| 
d|    .  d|    :S| 

pii   .f|     :S|     .d 

Sum-mer  with      thy 
Look  be  -  yond     this 


d|    .r, 
di    .d| 


:d, 


.nil 
.d, 


m 

Why  thy 
But    thy 

S|       .f| 

di    .d| 
n    .r 

gen  -  tie 
world  of 

Si      .f| 

d|    .d| 


J.  H.  Tenket. 

.  r     :  d     .  li 


beau  -  ties, 
joys      a    - 

:n,    .f, 
:  d|    .  d| 

:d     .s, 

show  -  ers, 
Hor    -  row, 


:ni 
:d, 


.d, 


li   .1|    :li    .t| 

Golden    fruits  and 
Thou  shalt  see    a 

fi   .f|    :f|    .8| 
fi   .fi    :fi    .fi 


d    .1|    :1|    .S| 

blushing  flow-  ers, 
bright  to  -  mor-row, 

li   .f|    :f|   .  rii 
fi    .  f I    :  d|  .  d| 


m  .r    :d   .1) 

Autumn  chills  thy 
And  the    ros  -  es 

S|  .f|    :  Hi  .f| 
d|  . d|   :  d|  . d| 


S|  .  Pii  :S|   .S| 

greenwood  bowers, 
hope  will  borrow, 

(Hi  .  d|   :  ni|  .  nii 
d|  .d|   :d|  .  d| 


d    .m   :r    .  m 

And  their  ieav(3S  de- 
Bloom  but  ne'er  de  - 

P1|    .  S|     :f|     .S| 

d|  .d|  :S|  .S| 


oay. 
cay.' 

nil 
d, 


Tuning  Exersises.— See  page  17.     To  be  Solfa-ed,  la-ed  and  then  sung  very  softly  to  loo. 


SingEx.  151 6r8t  as  written.  Second  time.  Soprano  tnkethe  Tenor,  Tenor 
Mke  the  Centralto,  singing  d'  instead  d,  Contralto  take  the  Soprano. 
rbird  time  Soprano  aiitT Contralto  change  parts,  Soprano  singing  d'in- 

Ex.  161.    KEVs  C,  El?  and  Q. 


stead  of  d.    In  tlie  key  O  the  Tenor  and  Contralto  chance  parts.  Con- 
tralto singing  1,  iiisteail  of  1,  and  Base  will  take  r,  instead  of  r. 

Ex.   152.      KEY  C.   Sing  only  as  written. 


d:- 

rn  :d 

f  :- 

f  :- 

f  :f 

n  :  — 

d:- 

n  :d 

s  :  — 

f  :- 

m  :r 

m  :—  i 

d:- 

m  :d 

f  :- 

d  :  — 

— :  — 

d:d 

d  :- 

) 

d:- 

PI  :d 

s  :  — 

r    :— 

— :  — 

d  .t, 

d  :- 

d:- 

m  :d 

f  :- 

1  :- 

— :  — 

— :  — 

1  :1 

8  :  — 

d:  — 

m  :d 

s   :  — 

t   :  — 

—  :- 

_; 

d',:s 

3  :  — 

d: 

m  :d 

f   :- 

— :  — 

— :  — 

— :  — 

f  :f 

d:  - 

d:- 

m  :d 

8  :  — 

—  :  — 

—  :  — 

— :  — 

8  :S| 

d:- 

wsmmm 


40 


Ex.  153.    KEY  EI2. 


THraD   STEP. 


Ex.  154.     KEY  F. 


d:- 

m 

:d 

s  :  — 

:     1 

f  :- 

m:r 

d:- 

( 

d:- 

m  :  d 

s  :  — 

r   :  — 

— :  — 

d:t, 

d  :~ 

d:- 

m 

:d 

3,  :  — 

t,  .    . 

— :  — 

— ;  — 

d  :t| 

d  :- 

1 

d:- 

n  :  d 

3,  :  — 

t,  :- 

— :  — 

— :  — 

d  :s, 

3,  :- 

d:- 

m 

:d 

s  :  — 

: 

r  :  — 

— :  — 

s  :f 

m  :  — 

) 

d:- 

n  :  d 

3  :  — 

f   :- 

m  :r 

m  :  — 

d:- 

m 

:d 

s,  :  — 

—  :  — 

— :  — 

— :  — 

3,  :S| 

d  :- 

\ 

d:- 

n  :  d 

3,  :- 

— :  — 

— :  — 

— :  — 

S|  :s, 

d  :- 

KF.Y  F.    M.  s(; 
d      :d 

S|      :S| 

l.Slow-ly, 
2.  O,      tiie 

:pi 


d 
n 


:d 


:pi 


d      :d 

But      the 

Send  -  ing 

s      :s 
d      :d 


S| 

<:;ont 
won 


:t, 

:S| 

-  ly 

-  (Irons 

:r 


f       :f 

ti      :ti 

eras  -  cent 
forth    its 


:s 
:r 


1,       :li 

8| 

fi       :fi 

Hi 

comes    (he 

night. 

brow      of 

n'Kjht, 

d       :r 

PI 

:t, 


:d' 


COMING  NIGHT. 

d 


d 

:d 

d 

UIS 

-     INQ 

CLEAR, 

sir- 

-      VEU 

LIGHT, 

S 

:s 

f 

PI 


:pi 


1        :- 


S| 

With 

Beau 

PI 

d 
1 


f        :  — 


:d 
:d 

its 
-   ti 

:m 
:d 

:s 


d       :d 

Sheds    a 
O'er      the 

f       :s 

f       :pi 


t, 

hoav 
ful 

S 

Si 

s 


:n 

:d 

•  y 

with 

:s 
:d 

:n 


t|      :d 

mel  -    low 
dark  -  'ning 


:s 
:d 


s 


:n 


d       :d 

e      -      Ion 
moon    and 


S 

n 


:s 
:d 


PI 
d 

light 
shade.' 

S 

S| 


:r 

:t, 

o'er 
n 

:f 

:s, 


B.  C.  U. 


t, 

pall, 
star, 

S 


S| 


d  :- 

d  :  — 

all. 
far. 

n  :  — 

d  :— 


s     :s      II  :1 

d    :d  |d  :d 

\.Si'lmt  vale!  where 

2.  Fare  ye  well,  ye 

PI    :pi  If  :f 

d    :d  Id  :d 


/ 


:1 
:d 


d 

WESTKRN 
LOVE  -  LY 

':f 


1 
d 


I  s     :pi 
Id     :d 

EVENING, 
MEADOWS, 

I  m    :s 


s     :m  |s      :p» 

d     :d  Id     :d 

love    and  pleas  -  ure- 

loft  -  y  shad  -  ows, 

pi    :s  I  PI     :8 

d    :d  Id     :d 


:d     Id     :d 


d 
d 


:d 


s     :s 

d    :d     |d     :d 

Love  -  ly        as        the 
Fields  with  bright-est 

m    :n    | n     :n 
li     :li 


SILENT  VALE. 

d     :d     Ir     :r 
d     :d     |t|     :t, 

Ev  -    er      round  our 
Which  have  shield-ed 

1 


1. 


d     :d 


m 
PI 


:pi 
:li 

:r 


|8 
|S| 


:s 

:si 


Id    :- 


d     :t|     |d 

sun  -  lit       cloud, 
flow'rs  he  spread; 

s     :f     In 


8|    :s, 


d     :~ 


m 
PI 

d 

cot 
oft 

S 

d 


:s 


r      :  — 


:d     It, 

■  tage   How'd; 
our    head ; 

:  s     I  s 
:  PI     Is 


P 
f     :f 


1     :1 


d     :d     Id  :d 

Peaceful         aa  the 

Fields  where  ofl  the 

1      :1     If  :f 

f     :f     If  :f 


s      :s 
d     :d 

Beauterus 
Still      be 

PI     :pi 


n 
d 

ves 
ves 

S 
d 


B.  C.  U. 

II      :1 
Id     :d 

as        the 
green  ye 

If     :f 


d     :d     Id     :d 


THIRD  STEP. 

m 
8     :m 

8 

:n 

d     :r       n    :  — 

8      :m 

8     :m 

9 

8     :  — 

8      :  — 

8 

d    :d 

Thee  we 
Swelled  in 

d 

bid 
ech 

:d 

a 

-    oes 

d     :t|      d     :  — 

long    fare  -  well, 
sweet  and    long, 

d     :d 

Thee  we 
Thee  we 

d     :d 

bid      a 
bid      a 

d     : 

long 
long 

ti     :- 

fare    -    - 
fare    -    - 

d 

weU 
well 

m    :8 

m 

:d 

m     :8       8      :  — 

m     :8 

PI     :s 

PI    :  — 

r     :  — 

PI 

d    :d 

d 

:d 

li     :8|      d     :  — 

d     :d 

d     :d 

s,     :  — 

8|     : 

d 

41 


•   mm^m 


SONG  OP  THE  AUTUMN. 


KEY  C.  M.  76. 

d'   :d'  :d< 

PI    :n  :n 

1.  Beanti  -  t'ul 

2.  Let  ns  be 

s    :s  :s 

d    :d  :d 


Words  and  Music  by  Frank  Forest,  by  per. 


:f 


:f 


r' 
f 

Long  tho'  the 
Nuts  we  will 

t    :t    :t 
s    :s    :s 


di  :d'  :d' 
PI  :pi  :pi 

birds  are  now 
squirrels  are 

Pi'  :!'  :d 
d  :d  :d 


f    :f    :f 

Fling  a  -  way 
Fling  a  -  way 

t    :t    :t 
s    :8    :8 


t    :t    :t 
8    : 8    : 8 

morning,   the 
straying,    no 

8    :s    :s 
d    :d    :d 

d'   :d'  :d' 
PI   :n  :pi 

shadows  Thrown 
gath  -  er      To 

d'   :d'  :d' 
s     :s    :s 

t    :t    :t 
8    ':  s    :  s 

fill  -  ing    the 
chipping    in 

8    :8    :s 
d    :d    :d 

d'   :d'  :df 
n    :n  :n 

Bor  -  row.  Ne'er 
sor  -  row.  Ne'er 

d'    :d'  :d' 
8     :8    :8 


8    :8 


:s 
:  PI 


1:1:1. 

f    :f    :f    |pi  :pi 

an-tumn    a   -   doming,    Oc  - 
time  for    de  -  lay- ing,    Oc  - 

s    :1    :t    Id'  :d'    :d' 
d   :d    :d    Id   :d    :d 

t     :t    :t    |1    :1     :1 


r    :r    :r 

o\;t    on     the 
cheor  win-try 


.1 


:ri 
:s 


:r' 
:s 


I  PI  :pi   :pi 

meadows.  The 
weather;    A  - 

Id'  :d'  :d' 
Id    :d   :d 


1    :1    :1     |s    :s     :s 
f   :f    :f    In  :pi  :n 

air    with  their  trilling,     Let 
time  with  our    tripping,  They 

8    :1    :t    Id'  :d'  :d' 
d   :d  :d    |d    :d    :d 


t    :t    :t     |1    :1    :1 
r   :r    :r    jpi  :n  :n 

grieve  for  the    morrow,    Oc- 
grieve  for  the    morrow,    Oc  ■ 

r»  :r>  :!•    jd"  :d'  :d' 
8    :8    :8    td  :d   :d 


f    :f    :f 
r    :r    :r 

to  -  ber's  as 
to  -  bev'a   as 

s    :s    :s 

t|   :t|   :t| 


8     :s    :s 
r    :r    :r 

for-ests  are 
way  to     the 

t    :t    :t 
r    :r    :r 


f    :f    :f 
r    :r    :r 

us     be    as 
of  -  fer    to 


:1 
:r 


:s 
:d 

:8 


r   :r    :r 

to  -  ber's  as 
to  -  ber's  as 

t   :t    :t 
r    :r    :r 


n  :n  :n 

d   :d  :d 

pleasant  as 

pleasant  as 

s    :s  :s 

d    :d  :n 


1 

r 

ro  ■ 
for 


d' 
r 


PI    :pi  :pi 
d    :d    :d 

joy  -  ful    as 
show  us     the 

s    :s    :s 
r    :n  :f 


f    :n  :r 

t|   :t|   :ti 

pleasant    as 
pleasant    as 

8    :8    :f 

8|   :8|   :8| 


:1 

:1 

:r 

:r 

K.Y 

and 

-  ests 

,  a    - 

:d' 

:d' 

:r 

:r 

r    : — 

ti  :- 

May; 
May; 

s    : — 
s    : — 


s    : —  : — 
r    : —  : — 

way; 

t    :—  :— 
s    : —  : — 


8    :1 

:t 

r    :n 

:f 

Mer  -  ri 

■  ly 

Cheerful 

-ly 

t    :d' 

:r' 

f    :n 

:r 

t|  : —  :— 

they; 
way; 

s    :—  :— 
s    : —  : — 


d 

May 
May 

PI 


"TS 


42 


TKIBD   STEP. 


KET  F.     M.  76. 

s     :s      11 


:s 


d     :d     Id     :d 

1.  Twin'd  with  cv  -  ery 

2.  0th -or    climes  may 

n    :n    |f     :n 
d     :d     Id     :d 


MOTHER,  CHILDHOOD,  FRIENDS  AND  HOME. 


d     :f 
d     :d 

earth-  ly 
charm  ii 

m    :1 


:d 


I  n     :  — 

Id     :- 

tie, 
while, 

Is      :- 


n     :r 

d     :t, 

Mera'ries 
0th  -  er 

s     :s 


|1      :n 
|r     :d 

Bweet  that 
eyes    in 

Is     :s 


S|     :S|     |S|    :S| 


:d 


si     :li 


r      :  — 


t,     :d  It, 

can  -  not  die; 

beau  -  ty  smile; 

f     :n  Is 


s,      :  — 


C.  G.  AujsN. 

m     :f     I s     :d 
d     :r     I  m    :d 

Breathing    still  where - 
Yet    we      mur  -  mur 


:s     |s 
:d     Id 


:n 


1  :1  Is      :  — 

d  :d  Id      :  — 

e'er  we  roam, 

MS  we  roam, 

f  :f  |m      :  — 

fi  :li  Id      :- 


:r 


m     :s 


d     :t|  Id     :d 

Moth  -er,  cliild  -  hood, 

Moth  -er,  child  -  hood, 

m     :s  |s     :ni 

li     :S|  |d     :d 


d     :- 


m     :r 

d     :t,     |d     : 

friends  and  home, 
friends  and  home. 

s     :f     I  m     : 


S|     :8, 


d     :- 


:m 


:r 


t|    :d  |r     :t| 

Green  the  qar  -  den 

All        of  joy      wo 

s     :s  I  s      :s 

S|    :S|  I  S|     :si 


n     :f  |s     :- 

d     :d  Id    :- 

where  we  played, 

fond  -  ly  prize, 

s     :r  |m    :- 

d     :d  Id    :- 


1    :s    |s    :f 
d  :d    |r    :r 

Dear  the  old    fa  - 
Twin'd  with  all  our 

f    :m   Is 


d   :d    It, 


:s 
:t, 


f   :n    jr    :- 
r   :d    lt|  :- 

mil  -  iar    shade, 
fond-est   ties, 

s    :s    |s    :- 
ti  :d    Isi  :- 


n  :f    |s    :d 
d  :r    I  n  :d 

In  oxir  dreams  how 
Sa  -  cred  still  where- 

s    :s    Is    :m 
d   :d    Id    :d 


1    :1 


s     :  — 


d    :d   Id    :- 

oft    they  come, 
e'er  wo     roam. 


f    :f 


n 
d 


d   :r 


m  :s 


d  :t,    Id  :d 

Mother,  childhood. 
Mother,  childhood, 

m  :s     |s    :m 
li   :S|    jd   :d 


m  :r    |d 
d   :t|   Id 

friends  aud  h*^ 
friends  and  h 

s    :f    |m 

S|  :S|    |d 


KET  C' 

s    .s  :  n    .  m 

n   .  n  :d     .d 

1. Oh! the  pret  -  ty 

2.  Treads  the  dro   -  vor 

3.  Fair  the  greet  -  ing 

d>   .d'  :s     .s 

d    .d  :d     .d 


THE  WAYSIDE  WELL. 


f     .f  :r 

r     .r  :t| 

way  -  side     well, 

on      the  sward, 
face   as     -    cends, 

s     .s  :s 

S|    .S|  :S| 


r     .n    :f     .s 
t|    .d     :r     .n 

Wreath'd  a  -  bout  with 
Comes  the  la  -  b'rer 
Like     a        na  -  lad 

s     .s     :s     .d' 

S|    .S|    :S|    .S| 


f 

ro    - 

to 

daugh 


d' 
d 


:8 

:n 

ses, 
thee, 
ter, 

:d> 
:d 


B.  C.  TJnseld. 

s     .s     :  n    .  PI 
PI    .PI     :d    .d 

When  be  -  guiled  with 
Free  as  gen  -  tie  - 
When  the      peas  -  ant 

d'    .d'    :s     .8 
d    .d     :d    .d 


f    .f  :r 

r    .r  :t| 

sooth-ing  spell, 

man  or  lord, 

las  -  sie  bends 

s     .8  :s 

8|     .8t  :8| 


r     .8  :t     .8 

t|    .t|  :r     .r 

Wea-ry  foot     re  - 

From  his  steed  to 

To      the  trem  -  bling 

D       . o  .8        .8 


8|     .  8|      :8|      .t] 


r 

pos 
woo 
wa 

d' 
r 


!8 

tm 

es; 

thee; 

ter. 

tt 

m 


f  .f 


:r     .r 

:  t|    .  t| 


r    .r 

With  a         wel  -  come 
Thou  from  parch-ing 
When  she    leans  up  - 

v      .  t        *  8       .8 

8      .8       :8|      .  8| 


PI  .f  :8 

d  .r  :pi 

fresh  and  green, 

lip  dost  earn, 

on  her      pail, 

8  .8  :  d* 

d  .d  :d 


:d 

1 

:d 

11 

where 

ir 

-  mur 

:n 


^yed, 
ize, 

1    :— 

I    :— 


Id 

udhr 
ndb 

In 


d    :  — 


NSELD. 

n    .n 
i    .d 

uiled  with 
;en  -  tie  - 
>eas  •  ant 

3       .8 

i    .d 

B 

preen, 

Bam, 

pail, 

d' 
d 


THIRD 

STEP. 

<k 

1    .1    :d'  .1 

1 

:8 

d'  .d'   :s    .8 

n  .f     :8 

1    .8    :in   .d 

r 

:d 

f   .f    :1    .f 

f 

:n 

n  .  n    :  n   .  fi 

d  .r     :pi 

f    .m   :d    .d 

ti 

:d 

Wave  thy  bor-der 

grass 

-      es, 

By    the    dust-y 

trav'-ler      seen, 

Sighing     as       he 

pass 

es. 

Many  a  murmured 

bless 

-      ing. 

And  en   -  joy  -  CKt 

in     thy     turn, 

In  -  no  -  cent   ca  - 

resB 

-      ing. 

Qlanc-ing  o'er   the 

moad 

-    ow, 

Sweet  shall  fall  the 

whispered  talp 

Soft  the    doub-le 

shad 

-     ow. 

d<  .d>  :d>  .d> 

d> 

:d' 

8   .8    :d'  .d' 

S    .8     :8 

8    .8    :8    .m 

f 

:m 

f   .f    :f    .f 

d 

:d 

d  .d    :d    .d 

d   .d    :d 

8t    .8|    :S|     .  S| 

8| 

:d 

MUSIC  EVERYWHERE. 


Ki.y 

G.        M.  90, 

Cbestzb  G. 

Allen,  by  per. 

d    .d     :t|     .1| 

8l 

:d 

r     .r     : 

d 

.t, 

d             :  — 

d     .d 

:t,    .1,     \ 

ni|  .  ni|    :S|     .f| 

n, 

:8, 

li     .li     : 

8| 

.8, 

8,             :-• 

ni|   .  Hi 

:8|    .f|     / 

1.  Mu-fiio        in        the 

spring     - 

time. 

Wak  -  ing 

up 

the 

flowers; 

Mu  -  sic 

in       the    I 

"2.  Mn-fiic        in        the 

rain 

-     - 

drops, 

Fall  -  ing 

in 

the 

night; 

Mu  -  sic 

in       the    / 

d    .d     :d     .d 

d 

:m 

f     .f     : 

m 

.r 

PI             :  — 

d    .d 

:d     .d     \ 

d    .d     :d     .d 

d 

:d 

fi     .f.     : 

8| 

.S| 

d,            :- 

d    .d 

:d    .d     ' 

S|            :d 

r 

.r 

:d     .t, 

d 

r     .m     :r 

.d 

t, 

:d            \ 

Hi           :S| 

li 

.li 

:S|     .S| 

S| 

k 

t|     .d     :t| 

.1) 

8| 

:si            / 

green            trees, 

Mu 

-  sic 

in         the 

bowers; 

Mu  -  sic        in 

the 

cot     - 

tage,           '[ 

young           birdH, 

Wheifthe 

day       in 

bright; 

Mu  -  sic        in 

the 

crick 

ei,                 r 

d            :m 

f 

.f 

:n     .r 

n 

1 

I 

8      .8     :s 

.r 

r 

:m            1 

d            :d 

f, 

.f| 

:S|     .S| 

d, 

S|     .S|     :S| 

.8, 

S| 

:8,            / 

r   .n    :f    .n 

r 

• 
• 

d  .d    :t|    .1| 

8| 

:d 

r   .r 

:d    .t| 

d 

• 
• 

t|  .d    :r    .d 

t, 

• 
• 

S|  .S|    :S|    .f| 

m. 

:8, 

li  .1, 

:s,   .S| 

S| 

• 

■ 

Mu  -  flic     in      the 

lea. 

Mu-sic      in      the 

south         wind, 

Mu-sic 

o'er   tlio 

sea. 

Chirping  loud  and 

dear, 

Mu-sic     in      the 

spring        time. 

Mu-sic 

all      tho 

year. 

s   •  s    •  s    •  s 

8 

• 
• 

n  . n   .d    . d 

d 

:n 

f    .f 

"  rm  .r 

n 

• 

8|    .8)    .8|     .  8| 

S| 

• 

d  .d    .d    .d 

d 

:d 

f|    .f| 

!  S|     •  S| 

d, 

:  — 

SKATINC 

J  GLEE 

r 

KEY  C.        M.  100  beating  twice. 

A.  S. 

EnSITEB. 

:8 

8    : —  :8     8    :— 

:8 

1     :-  :1      1    :- 

:1 

t    :       :t      t    :1 

:t 

d'  :      :- 

—    8    :  — 

:m 

m   :—  :n  1  n   :— 

:n 

f    :      :f     f    : 

:f 

f    :      :f     f    : 

:f 

m   : —  :- 

—   n  :--  J 

l.O 

come          with  me, 

and 

we             will    go 

And 

try            the    win 

tor's 

cold, 

sir;           / 

^.We 

have          our   mer     - 

ry 

games       h)       spring. 

Of 

ball           and  oth    -    - 

er 

sorts. 

Bir;         ( 

3.  With 

Bled           and  satch    - 

el 

off             we      stait, 

The 

sraok    -    ing    break    - 

fast 

through, 

sir;          [ 

4.  Bit 

when         the   les    -    - 

sons 

all              are     done. 

0 

then          we're  on 

the 

ice. 

sir;          V 

:d> 

d'  :—  :d'  |d'  :— 

:d' 

d'  :      :d»    d'  :  — 

:d' 

8    : —  :8    |8    : — 

:8 

a       • •  _ 

-Id'  :-/ 

:d 

d    :—  :d 

d 

• 

:d 

f 

:f 

If    :- 

:f 

8    :- 

-  :8 

8    :  — 

:s 

d    : 

• 

-   d   :— 

44 


THIllD   STEP. 


:m 

It 

But 

And 
And 

:d 
:d 


s    :—  :s 


n   :  — 

:m 

in 

freez    - 

es 

now, 

win 

ter, 

too. 

all 

the 

day. 

by 

the 

red 

d'   :  — 

:d' 

d' 

d    ; 

:d 

Id 

—  :8 

—  :n 

and 
his 
with 

—  -  ly 

—  :d' 

—  :d 


1     :- 
f    :- 

soon 
shnre 
book 
sink 

d'  :- 
f    :- 


:1    |1    :— :1 
:f    jf    :— :f 

will  snow, 

can  bring 

and  chart, 

ing  sun, 


But 

Of 

We 

V/e're 


:d'  Id'  :— :d' 


:f    If 


:f 


t    : 
f    : 

we 
old 

have 
skat 

s    : 
s    : 


:t 
:f 

are 
and 
e  - 
ing 

:s 
:s 


:1 


It 

If    :- 

tough 
cheer 
nough 
it 

Is    :~ 
Is    :•- 


:t 
:f 

and 
ful 
to 
so 

:s 
:s 


d'  :—:— Id'  :— 


n  : —  : 

bold, 
sports, 
do, 
nice, 

s    :—  : 
d    :— : 


in 

sir. 
sir. 
sir. 
sir. 

Is 
d 


d' ; — ; —  I  n' ; — 

Come, 

m : — : —  |  s  :— 

Come,  come, 

s  :—  : —  I  d' : — 
d:— :— Id  :— 


1   :- 


come, . 

f  :- 

come, 

d':- 
f  :— 


—  Id':- 


-|f  :-: 

come, 

-|1   :-: 
-If  :-: 


t  :— :t  It  :1   :t 
f  :— :f  |f  :— :f 

come,     Oh,  come     with 

s  : — :  s  I  r' : — ;  r' 
s  :--:s  Is  :— :s 


1st  time. 

D.  S. 

2dt 

d' :— :—  s  : 

— : 

d': 

n   — :—  n  : 

m  : 

me,               sir. 

me. 

d' :- :—  d' : 

— : 

d':- 

d  :— :—  d  : 

—  ; 

d  : 

I !- 


M.  120. 


LOI  THE  GLAD  MAY  MORN. 


|s       :1  .s 

I  m      :  f  .  n 

Morn,  With  her 
wild.  When  the 
mom,  Like    a 

Id'     :d'.d' 
Id      :d.d 


t 
s  .f  :f  .mif  .f  :s  .f 

pi.r  :r  .d  |r.r  :m.r 

rosy  light  ir, bronking,Oerthe 
i-dle  windsareblowing.We  will 
child  she  comes  to  meet  ns.  With  her 

d'.s  :s  .s  |s  .s  :s  .s 
S|.S|:S|  .S|  I  S|.S|  :S|  .S| 


5 

:s 

s 

:1  .8 

m 

:n 

m 

:f  .m 

pure 

young 

buds. 

From  their 

mos  • 

■  By 

bank, 

Where  the 

calls 

the 

birds. 

All        the 

d' 

:d'. 

Id' 

:d'.d' 

d 

:d 

d 

:d.d 

t 

8  .f   :f  .m  |f .f  ;3  .f 

n.r  :r  .d  |r .r  :n  .r 

dewy    sleep  a-waking,  Mirth  and 
crj'stal  brook  is  flowing,  We  will 
merry  birds  to  greet  us,  And  the 

d' .  8    : 8  .  8    1 8  .  8    :  S   .  8 

8|  .8|    :8t  .S|    I  S|  .Sj    :8|  .S| 


n 
d 

hills 
roam 
brow 

S 

d 


n 


:d 

so 

with 

all 

:d' 
:d 


:m 


d        :d 

mu  -  sic 
crown  our 
laugh  -  ing, 

8        :d' 
d       :d 


8 


In 

love 
pleas 


:f  .n 
:r  <*d 


-  ly  and 
ure  to- 
cov  -  er'd  with 

d'     :s  .8 
d      :d.d 


|3 

In 

float 

queen 

bright 

!d' 
Id 


From  the  Oebman. 

:—     I—     :d 


r      :~ 

ti      :- 

fair; 
day; 
flow'rs; 

8       :  — 

8,      :  — 


:f  .n 
:r  .d 

in  the 
of  the 
summer 

:8  .8 
:d.d 


r 

ti 

air. 

May. 

hours, 

8 
8| 


rn 
:d.d 

An*l  the[ 
On  the\ 
And  shel 

:n.s 
:d.d 


1-      I 


d 

.PI 

d 

.d 

Then  »- 1 

n 

.8 

d 

.d 

8  .8    :8  .8    |8 

n •  n  :ni . m  I  n 

way,  n-wny,  a  -  w»y, 

d<.d<:d<.di|d> 
d.d:d.d  jd 


t  cre.9  -    -  cen 

:d>.t    1  .1  :1  .1  |1 
:n.8    f .f  :f .f  |f 

Then  a-   way,a-way,  n  -  way, 

:d'.d<  d'.d'.d'.d'ld' 
:d.n   f  .f  .f  .f  If 


do. 


:r' 

.d' 

:f 

.f 

And 

a- 

:1 

.1 

:f 

.f 

t       :8 

8 

:1  .t 

di 

f       :n 

If 

:f 

m 

May  -  ing 

we 

wiU 

go 

8      :8 

It 

!d'.r' 

d> 

8      :■ 

|8| 

:8| 

d 

!~       I 


(  Tl 

II,: 
II 


d'  :— 


n 

sir. 
sir. 
sir. 
sir. 

8 

d 


-) 


-! — : 


SBMAN. 


:d 

.n 

:d 

.d 

Ami  the 

On 

the 

And  she 

:n 

.S 

:d 

.d 

I- 


-  I 
"  I 


THXBD  STEP. 
MEREILY  THE  CUCKOO. 


46 


KET  D.        M.  80. 

Gbzstxb  G.  Auueh. 

8  ,S  .8    ,8    :8 

.m 

d> 

.1 

:s 

r      .n 

:♦; 

.1 

8 

:n 

n,n.n ,n  :n 

I.  Merri-ly  the  cuok 
•2.  Pleasantly  the  sun 

d',d'.d',d'  :d' 

.d 

-    CO 

with 
.8 

n 

in 
gold 

8 

.f 

the 
-  en 

.d' 

▼ale 
light 

:d' 

t,      .d 

To        the 
Wakes  the 

8         .8 

:r 

mom 

earth 

:s 

.f 

is 
to 

.t 

n 

sing 
glad 

d' 

:d 

-ing, 
-  ness, 

:8 

d,d.d,d  :d 

.d 

d 

.d 

:d 

8|        .8| 

:s, 

.8, 

d 

:d 

8  ,8  .8  ,8     :8  .PI 

m,n.n,pi  :n       .d 

Cheeri  -ly  the  ech    -    o's 
Happi  -  ly  we    roam      till 

d',d',d',d' :d'      .s 
d/.d,d  :d       .d 


d'      .1 


:s 


.d' 


.8 


:1        .t 


F. 

.f 

:n 

.n 

r 

.t, 

:d      .r 

t, 

fair 

-  y 

tale 

By 

ail 

-    ver 

fonnt      is 

nng 

dew 

-  y 

night 

With  - 

out 

a 

thought  of 

sad 

8 

.d' 

:d' 

.8 

S 

.8 

:8       .8 

8 

d 

.d 

:d 

.d 

r 

.r 

:r       .r 

8| 

f  .m 

r  .d 

way,  a 

way,  a 

B  .8 


:r 

:t, 

way, 
way. 


8|        .8|  :S| 

n,n .PI ,n  :n 

Merri  -  ly  we    go, 
Merri  -  ly  we    go. 

d',d'.d',d'  :d' 
d,d  .d  ,d  :d 


.1 
.f 

with 
with 

.t 

.8, 


S 

n 

foot 
foot 

d' 


.f 

.r 

steps 
steps 

.d' 


:n 
:d 

free, 
free, 

:d' 


.d        :d 


.8 

.n 

We'll 
We'll 

.8 

.d 


I       .n 
r      .d 

chase    the 
chase    the 


:r 


.1 


1  ,1  .1  ,1  :1 

f  ,f  .f  ,f  :f 

Merri-ly     we  go, 

Merri-ly    we  go. 

d',d'.di,di  :d' 

f,f.f,f  :f 


8 

8| 

m 


.8 

.8| 

.r' 


8  .f 


:d'      .t 


f      .f 

None    BO 
None    so 

1  .1 

f      .r 


:m 

gay 
gfty 

:8 
:s 


.r 

as 
as 

.8 

.8i 


d> 
PI 

we. 
we. 

8 

d 


KBT  F.    Itonnd  for  three  parts. 


(  The     I 

{I: 
II 


d      :-.r  |n     :pi 

bell         doth  toll,      I 


d 

love 


.r  I  PI     :f 

its    roll.     Its 


lore 

d      : 

Bome, 


:-  .f  1 8  .8  :8  .8  I  PI 

its    ringing  for  it   I  oolls 


PI     :r 

song     I 


n 


Id     :t, 

know    full 

:r 


n 


:-  .f  JB  .8  :1  .1  Is 

to  singing.  With  its)  bim,      bim.      bim        bome  |  bell. 


d       :- 

Bome, 


8 

Bim, 


:b 

bim. 


l>l 
bim, 


:8, 

bome 


:8 


:pi 


:t, 

.f  • 

PI 

.r 

:d 

shad 

-  ows 

o'er 

the 

lea. 

shad 

-     0W8 

o'er 

the 

lea. 

:8 

.t 

d' 

.d' 

:d' 

:8, 

.8, 

d 

.d 

:d 

d      :-    I- 

well; 


d       :- 

beU. 


.8 


:t, 

.t, 

ing. 

A 

ness. 

A 

:8 

.8 

:8, 

.8, 

Da 


» 

IB 
I 


I 


46 


THIRD    STEP. 


E 


G> 

pi 
E' 

D' 

C 
B 

A 

G. 

F 
£ 

D 

C 

B. 

A, 

-G, 

Fitj 
E,  -5 


Classification  of  Voices.  The  teacher 
may  now  proceed  to  a  more  definite  classifica- 
tion of  the  voices.  He  will  first  explain  the 
difference  of  pitch  between  the  voices  of  men 
and  the  voices  of  women.  This  may  be  done 
by  having  the  women  sing  the  scale  of  0  several 
times  alone,  and  then  let  the  men  sing  it  alone. 
Most  of  the  men  will  think  they  sang  the  same 
tones  the  ladies  sang.  To  prove  they  did  not 
let  the  ladies  sing  d  (C)  and  sustain  it  while 
the  men  sing  from  their  d  up  to  d',  when  they 
reach  their  d'  they  will  be  in  exact  unison  with 
the  ladies.  It  will  thus  be  seen  that  the  voices 
of  men  are  naturally  an  octave  lower  than  the 
voices  of  women.  This  pitch  C,  which  was 
just  sung  in  unison,  and  which  stands  high 
in  a  man's  voice  and  low  in  a  woman's — is 
called  Middle  G.  It  is  about  the  middle  tone 
of  the  usual  vocal  compass  and  is  common  to 


Middle 


C, 
B. 

A, 

G. 


> 

CO 

"b 


nearly  all  musical  instruments.  The 
diagram  on  the  left  will  show  the  usual 
vocal  compass,  male  and  female.  The 
teacher  may  find  it  useful  to  draw  this 
diagram  on  the  black-board  and  have 
the  tones  sung  at  their  proper  pitch  to 
his  pointing.  Let  all  begin  at  Middle  C, 
the  voices  of  the  men  and  women  in 
exact  unison,  then  as  the  teacher  points 
sing  up  the  scale  together.  At  G  the 
men  will  stop,  many  of  them  will  have 
to  stop  before  reaching  that  tone,  the 
women  continue  up  to  G'.  Then  de- 
scending the  men  will  join  in  at  G 
(at  the  proper  pitch)  and  together  de- 
scend to  G„  at  this  tone  the  women  will 
stop,  the  men  continuing  down  to  G,. 
Returning  upwards,  the  women  will 
join  in  at  G„  and  so  on. 


Ex.  155. 


Kr.Y 


c. 


Ladies. 

d          :d 

d 

:d 

d 

:d 

d 

:d          ) 

Now           our 

voic 

es 

all 

u       -      - 

nit    - 

-    ed,             f 

Gentlemen. 

d'         :d' 

d' 

:d' 

d' 

:d< 

d< 

=d.       * 

rn         :m 

s 

:s 

d' 

:d' 

t 

:—        ) 

Let            us 

d'         :d' 

see 
t 

why 

:t 

they 

1 

a     -    - 

:l 

gree. 
8 

=-    } 

t          :t 

d' 

:di 

8 

:s 

n 

:m         ) 

•Tis            be    -    - 

canse 

when 

first 

we 

start     - 

ed.            I 

s          :s 

d 

:d 

PI 

:n 

8 

:s          ) 

f          :f 

n 

:r 

d 

:d 

d 

We            were 

f          :s 

sing     - 
1 

ing 

:t 

Mid      - 

d' 

die 

:d' 

c. 
d> 

The  teacher  may  next  examine  the  women's 
voices  and  classify  them  into  high  voices — 
called  Soprano — and  low  voices,  called  Cor 
tralto.  The  high  voices  of  men  are  cmied 
Tenor— the  low  voices  of  men  are  called  Base. 
Each  voice  should  be  examined  individually. 
To  examine  the  women's  voices  the  teacher 
gives  G  (first  G  above  middle  G)  as  a  key-tone 
and  requires  the  pupil  to  sing  the  scale,  first 
upward  as  high  as  she  can  go,  nnd  then  down- 
ward as  low  as  she  can  go.  If  the  fuller,  more 
beautiful,  and  more  easily  produced  tones  of 
her  voice  lie  above  G  it  may  be  oliissed  as  a 


high  voice.  If  the  best  tones  lie  below 
G,  then  it  may  be  called  a  low  voice. 
The  men's  voices  may  be  examined  in 
the  some  way  by  taking  Q,  (first  G, 
below  middle  C),  as  a  key-tone.  It 
is  the  aualUy  of  the  voice,  not  the  com- 
pass, tnat  decides  the  question.  Cul- 
tivation may  afterwards  make  a  differ- 
ence, but  this  simple  mode  of  classi- 
fication will  answer  for  the  present 
purpose.  The  diagram  on  the  right 
shows  the  usual  easy  compass  of  the 
different  voices. 


e 
T3 


G' 

F' 
£■ 

D* 

-C 
B 

A 

G — I 

F 
E 

D 

-C 

B, 

A, 

-G, 

F, 
E. 

Di 

C,-J 
B. 

A. 
G. 


CO 


THIBD  STEP. 


47 


«'  d' 

F>  t 

£<  1 

1)1  8 


c 

B 

f 
n 

A 

r 

G-d 

F 
E 

t, 
1| 

D    S| 
€    f, 

B,  m 


Octave  Marks.  The  pitch  of  the  key-tone 
of  any  key  is  always  taken  from  the  unmarked 
octave  of  the  Standard  Scale,  and  this  doh,  what- 
ever pitch  it  may  be,  with  the  six  tones  above  it  are 
without  octave  marks.  For  instance,  for  the  key 
O,  the  unmarked  G  of  the  Standard  Scale  is  taken 
as  doh,  this  doh  with  the  six  tones  above,  r  n  f  s  1 1, 
are  without  octave  mark;  the  scale  below  would 
have  the  the  lower  octave  mark.  This  may  be 
illustrated  by  the  following  diagram.  To  save  the 
unnecessary  multiplicity    of  octave  marks   both 


in  writing  and  printing,  the  Tenor  and  Base  parts  are  always 
written  an  octave  higher  than  they  are  sung.  In  quoting 
octave  marks,  as  in  dictation,  the  upper  octave  marks  are 
distinguished  by  naming  tham  before  the  note,  the  lower  by 
naming  'them  after— thus,  C  is  "one-C",  d'  is  "one-doh', 
G,  is  "G-one",  s,  is  "sohrom".  It  will  help  the  memory  to 
notice  that  the  nigher  comes  first.  Thus,  we  say  that  the 
easy  Base  compass  is,  as  above,  "from  G-two  to  C",  that  of 
Contralto  "from  the  G-one  to  one-C",  that  of  the  Tenor  "from 
C-one  to  unmarked  F",  that  of  the  Soprano  ".from  unmarked  C 
toone-F". 


Ex.   156.      KET  C 

HOPI'.ANO. 

d     :  — 

CoNTRAIvTO, 

d     :  — 

Once 
Tenoe. 

d'     :  — 

Base. 

d'     :  — 


1      :1 
f     :f 

meas-ure 

d<    :d< 
f     :f 


d     :d 
d     :d 

more    u 

d'     :d' 
d'     :d' 


II 
f 

gent 
Id' 

If 


:1 
:f 

■ly 
:d> 
:f 


d      : 

nit    - 

d'     : 
d'     : 

8 

n 

flow 

d'     : 
d 


-  Id  :d 

-  !d  :d 

-     ed.  And 

idi  :d> 

ld>  :d> 


m 


:ni 


then     in 

d'     :d' 
d'     :di 


d' 

:d' 

t      :t 

n 

:n 

r      :r 

ing. 

The 

pleas  -  imt 

S 

:8 

8       :s 

d 

:d 

8       :s 

8 


:8 


|s     .:8 

four      parts 


8 
S 


:8 

:s 


It      :t 
|r      :r 

tones  will 

18      :8 
|8      :8 


n 

Sling; 
S 

d     : 

d' 
m 

ring. 
8 

d 


:s 
:n 

The 

:d' 


—    :d 


KET  Bi?. 

S|    :1|     .1| 
mi   :f,    .f, 

\1.  Thy  home  is 
/a.  Dear  Com -fort - 
)3.  "Who  made  this 

.d    :d    .d 
\d|   :d|    .  d| 


BOBBINS.     L.  M. 


8| 

nil 

with 

er, 

beat 

d 

d| 


:-    .d 


• .. 


n, 

the 
e    - 
-     ing 

;-     .S| 
-    .di 


:d 

.d 

:fi 

.fi 

hum 

-ble. 

ter  . 

nal 

heart  of 

:li 

.1) 

:d, 

.d, 

ni 

Lord, 
Love, 
mine, 

8| 

d, 


;—  :r 

: —  :S| 

The 

If 

Bat 

:ti 
; —  :8| 


Dabtob  E.  Jones. 

m    .r     :d  m 

8|    .8]     :S|  :8| 

aim  -  plest    and  the 

thou  wilt      stay  with 

thou,  my      heaven  -    ly 

d    .tj     :d  :d 

d    <  8|     :mi  :d| 


8| 

best, 
me, 
guest, 

t| 


••  _ 


.8, 

:1. 

.li 

.mi 

:f| 

.f| 

Thy  lodging  | 

Of 

low 

-ly 

Let 

no 

one 

.d 

:d 

.d 

.d| 

:d, 

.d, 

8| 

mi 

is 

thoughts 

have 

d        :- 

di        :- 


:-  .d  :d  .d 

:-  .mi  :f|  .f| 

in  child-like 
and  aim  -  pie 
it     then  bat 

.S|  :1|  .1| 
.dj  :d|  .d| 


mi 

hearts, 

ways, 

thee, 

8| 

di 


.m 

:d 

.li 

.8| 

:si 

.fi 

Thoumakest  | 

ru 

build  a 

And  let 

it 

.d 

:d 

.d 

.d, 

:mi 

.fi 

8|         :  — 
mj '2}_ 

there 

house  

be 

d \\ 

8i         :  — 


:8| 
:fi 

thy 
for 
thy 

:r 

:8, 


8| 

mi 

rest, 
thee, 
rest. 

d 
d, 


18 


THIRD  STEP. 


CHRISTMAS  SONG. 


XBT  C. 


n    :  — 

s      :— 

f     :- 

S 

d     :- 

m    :  — 

r     :— 

r 

Sweet 

the 

chim    - 

•      IB 

d     :r 

m    :f 

s     :1 

t 

Stee  -  pie 

bells  with 

joy  -  ful 

ch 

d     :  — 

• 

r     :  — 

— 

Sweet       • 

bells 

f     :—  Is 

r     :—  |r 

fill     -      -  ing 

s     :1  jt 

Christmas  rhyin 

r     :-  I- 

hearts 


d' 

ing 


r 

all 

t 

on 


:d> 

chim  -  ing, 


-     It, 
the 

1     Is 

the      si    ' 


s,     :-   I- 

mak    -     -     - 


r  :  — 

• 

r  :  — 

still 

t  :1 

stee  -  pie 

S|  :  — 

chim     - 


d     : 

d     : 

air. 

:f 

PI     : 

lent 

air. 

d     : 

- 

ills. 

8     :  — 

t,    :- 

the 

8     :f 

clocks  ^vith 


n    : — 
d     :— 

tim    - 

n    :r 

care  -  ful 

d     :  — 

,ing, 


8 

Chil 

r 

Chil 
t 

S 

ChU    - 


L.  M.  OoBOON,  by  per. 


Id     :- 
Id     :- 

ing. 

Id     :t, 

tim  -  ing, 


n     :•— 
d     :— 

Glad    .    - 

d     :r 

Ush  -  er 

d     :— 

Glad 


:-    Is     :- 

.     -    dren 

:r       f     :f 

dren's  voio  -  ea 

:t       r<    :r' 

8      : 

sing 

m     : 

car  - 

d'    : 

: —     s     :  — 

.     -    dren 

d     : 

sing 

rl 


|8     :— 
I  n    :  — 

nesB 

In    :f 

in       the 


-  |8 

-  -     ing. 

f     Is 

ola       sing 


n 


-   Id 


n 

ing, 

d' 


mg. 


8   : —  |s    :  — 

An      -      gels 

r   :r    If    :f 

An  -  gel  Ijands  thro' 


t   :t 
8    :  — 

An      - 


KET  D. 


Ir'   :r' 
is    :- 

gels 


s    :  — 

wing    - 

n   :f 

heaven 

d'  :r' 
d    :  — 

wing    - 


|s    :  — 

ing. 

|s    :m 

winging, 

In'  :d' 

Id   :- 

ing, 


n   :—  |8    :  — 

Ti     -    -    dings 

d    :—  I  n   :  — 

To    the  earth  good 


d    :r 
d    :r 


n   :f 
n   :f 


f    :— |8    :  — 

bring    -    ing, 

r    :—  |r    :  — 

ti  -  dings  bringing, 

8    :1    It    :d> 
8    :1    It    :d' 


r    :n   |f    rs 

Joy    and   glad-ness 

r    :n  If    :s 

Peace  and  glad-ness 

t    :1    |8    :f 
t    :1    Is    :f 


1  :t    Id'  :  — 

ev  -   er/  -  where. 

1  :t    Id'  :  — 

ev  -  ery  -  where. 

n  :r    |d    :  — 

n  :r    Id    :  — 


NEVER  SAY  PAIL. 


Chesteu  G.  Allen. 


:n 

n    :— 

Id    :i 

T 

8     :—  In    :8 

1     :d' 

t    :1 

s     :  — 

—  :8 

1     :-    f     :1 

:d 

d    :— 

d    :d 

n    :—    d     :n 

f     :1 

8     :f 

n    :  — 

|—  :n 

f     :—     d    :f 

l.Keep 

work    - 

-  ing,    'tis 

wis    -      -    er      than 

sit    -    - 

-  ting    a    - 

side, 

And 

dream    -    ing,    and 

'2.  With 

eyes     • 

ev  -    er 

o        -        -  pen,  a 

tongue 

that's  not 

dumb, 

A 

heart           that    will 

3.  In 

life's 

ros  -  y 

mom    -    -  ing,  in 

man    - 

-    hood's  fail 

pride. 

Let 

this             be      your 

:s 

8     :  — 

1  n    :8 

d'    :—    s     :d' 

d'   :  — 

d'   :d' 

d'    :— 

-  :d' 

1     :—    1     :d' 

:d 

d    :- 

d    :d 

d    :        d     :d 

f    :— 

If    :f 

d    :  — 

:d 

f     :--    f     :f 

8     :—   |n 

:8 

8 

:—     f     :n 

• 
r     :— 

—  :d 

d     :n 

8     :1 

8     :—     n    :8 

n    :—   jd 

:n 

r 

:—     r     :d 

t,     :- 

—  :d 

d     :n 

8     :1 

8      :—     n     :8 

sigh    •    •    ing 

and 

wait 

•    -    ing       the 

tide; 

In 

life's 

earn  -  est 

bat    -    -    -  tie      those 

nev    -    •     «r 

to 

8or 

-     -    row      sue  - 

onmb; 

You'll 

bat    -      - 

tie      and 

con    -      -    quer,  tho 

mot    -    -    to. 

your 

foot 

-    -    steps    to 

guide; 

In 

storm 

and    in 

snn    -      -  shine,  what- 

d'    :—     8 
d    :—    Id 

:8 
:d 

8 

t, 

:—    |8     :8 
:-   It,     :d 

8      :— 

8,     :- 

—  :d 

-  :d 

d    :n 

8     :1 
8     :1 

8      :—    In     :8 

d    :n 

8      :—     n     :8 

r 

t, 

rest 
lov« 
staj 

8 
8 

r' 
f 

be 


S| 


n 

ingt 

d' 


:1 
:f 

and 
wUl 

your  I 

:d' 
:f 


1    :8 

PI   :d 

r 

1    :s 

PI   :d 

t, 

on    -      - 
thous    - 

ly     pre  - 
ands  as  - 

vail, 
sail, 

ev    -     - 

er     as  - 

sail. 

1    :s 

|pi   :pi 

8 

1    :s 

1  P)   :d 

S| 

THIRD   STEP. 

/ 

:r 

n   :— 

f    :s 

1     :- 

d>    :1 

8    : — 

1 

:t 

d' 

:t, 

d    :- 

t,   :d 

d    :- 

If    :f 

n    .— 

f 

:f 

m 

Who 

dai    -     - 

ly  march 

on    -    - 

ward  and 

nev    •    • 

■    er 

say 

fail. 

Well 

on    -    - 

ward  and 

con    -    - 

quer,  and 

nev    -    ■ 

•    er 

say 

fail. 

Then 

nev    -    ■ 

■  er,      oh. 

nev    -    - 

er,      oh, 

nev    -    ■ 

■    er 

say 

fail. 

:8 

s    :  — 

8    :s 

f    :- 

1     :d' 

d'   : 

ir' 

:ri 

d 

:8, 

d    :— 

r    :n 

f    :  — 

f    :f 

s    :  — 

S| 

:si 

d 

4r 


MORNING  HYMN. 


; —  jpi  :f 

:—  |d  :r 

ther    we 

es  would 

as  thou 

:—  Is  :d' 

—  Id  :d 


8     :- 
m    :- 

thank 

ut 

deem 

d'    :- 
d    :- 


n    :s 

1     : 

d     :m 

f     : 

thee    for 

sleep. 

ter      thy 

pmise 

est      it 

right. 

s     :d< 

d'    :- 

d    :d 

f     :- 

1- 


:1 

d'    :■ 

:f 

1     :- 

For 

qui 

Our 

hearts 

That 

here 

:d' 

d'   :- 

:f 

f    :- 

It  :1 

Is  :f 

et  and 
would  o'er- 

on  the 

d>  :1 

f  :f 


8     :— 

m    :  — 

com 
flow 
earth 

d'    :  — 
d    :  — 


T.  F.  Sewaui>. 

: —  I  8     :pj 


m    :d 

fort  and 
with  thy 
we   should  t 

di 
d 


:s 


r'  : 
f     : 

be  - 
meet 
serve 

8     : 

8|    : 


:d 
:d 

We 

O 

We 

:n 
:d 


-Id'    :t 


d' 
In 

ing 

thee 

thee 

is 

I  8, 


:r 

dis- 
a  • 
by 


—  |8|    :si 


n    :  — 
d     :- 

thank 
teach 
pray 

8     :  — 
d     :  — 

d'     :- 
m     :— 

tressed. 

bove. 

day. 

8     :— 
d     :— 


n    :f 
d     :r 

thee   for 
US        to 
thee    to 

8     :d> 
d     :d 


—  :d' 

—  :n 

0 

The 

And 

—  :d' 

—  :d 


8 


:n 


n ijL^ 

lov 

walk 

guard 

d'     :  — 
d      :  — 


f 
r 

ing 

in 

us 

d< 
d 


:8 
:n 

to 
thv 

by 
:d' 

:d 


1      : 
f     : 

keep 
ways, 
night, 

d'     : 
f      • 


:1 

8 

:f 

n 

Thy 

cbil 

And 

fit 

And 

help 

:d' 

d' 

:f 

s 

d' 
PI 

dren 

us 

us 

d< 

8 


:n' 
:8 

from 

to 

to 

:8 

:8 


d' 
1      : 

how 

heart's 

when 

d'    : 
f     : 


-   It 


:1 
8     :f 

in       their 
pure  af  - 
all       the 

d>    :d> 
f     :f 


d' 
1      :- 

weak 

fection 

days 

d'     :- 
f     :■ 


-   It 


8 

nesB 
tion 
of 

Id' 
If 


:1 
:f 

can 

is 

our 

:d' 
:f 


8 

n 

crea 

all 

earth 

S 

d 


:—  In  :f 

—  Id  :r 

tures  re  - 

we  can 

life  are 

—  |8  :d' 

—  Id  :d 


:8      y 

I 

8     :— 

1- 

:d' 

Pi'    :— 

> 

Ir'     :d' 

m'    :  — 

r'     :d' 

t      :- 

11      :t 

d'     :-     - 

:8      1 

m    :— 

1- 

:n 

8      :•— 

If     :m 

8      :— 

f     :pi 

r      :  — 

d     :r 

n     : —      - 

those  r 

\ 

pay 

Thy 

fath       - 

er        ly 

kind       • 

ness     by 

night 

and      by 

day. 

r,  tho*    \ 

\ 

give; 

In 

love's 

pure    de  - 

vo 

tion     0 

help 

us         to 

live. 

e,  what-( 

1 

past, 

Be  - 

ceive 

us        in 

heav 

en       to 

praise 

thee     at 

last 

:8     j 

d'    :— 

1- 

:d< 

d'     : 

|8       :8 

d'     :- 

8      :8 

8       :  — 

8      :8 

8      : —      — 

:s     ' 

\ 

d     :- 

1- 

:d 

d     :- 

d     :d 

d     :  — 

Id     :d 

8,     :  — 

8|     :8, 

d     :          - 

.■■j:.,mmsm 


50 


EST  D. 

:d 
:d 

1.  How 

2.  A  - 

3.  With 


n     :  — 

:l 

IS 

d     :- 

:r 

\ri 

sweet 

to 

hear, 

boye 

doth 

float 

flow 

era 

sweet 

THIRD  STEP. 


HOW  SWEET  TO  HEAR. 


When 
The 

This 

:d 
:d 


ring 

rao 

gay 

n 
d 


ing  clear, 
koo's  note, 
re   -    treat 

:f      Is 


'  —      'V 


n     : — 


T.  F.  Sewabd. 

s 

d'     : 

:s 

s     :f     :m 

n 

n     : — 

:n 

n     :r      :d 

At 

eve 

or 

ear      -     -      ly 

O'er 

fields 

of 

wav     -     -     ing 

Kind 

na 

ture 

doth                a  - 

S 

s      :  — 

:d' 

d'    :—    :s 

d 

d     :— 

:d 

d     :—    :d 

:r 

:t, 

Borne 

But 

And 


S 

t| 
on 

sweet 
oft 


;-    :1  It      :  — 

!—    :r  |s      :  — 

the  breeze 

er  still, 

we  come. 


Thro* 

O'er 

When 

:r 
:r 


rust 
vale 
la 

S 

tl 


ling  trees, 

and  hill 

bor's  done, 

:1  It 


:r 


s 


:t 
:r 

The 
Be  - 
To 

:s 

:s, 


t    :—  :t     It    ;1     :t 

r    : —  :r    |r ^ 

mel     -  low    mel 

sounds  the    mel 

hear  the    mel 

8    : —  :s    Is    : 

8|  : —  :8|    |S|   : 


d' 


:r 

n   : 

low 

horn. 

low 

horn. 

low 

horn, 

:8 

s     : 

:si 

d    : 

:n 

The 
The 
The 

:8 


n   : —  :m    |f    :—  :f 

mel  -  low  mel  -  low 
mel  -  low  mel  -  low 
mel      -      low    mel      -      low 

d'   :—  :d>    11    :—  :1 


n    :—  :—  |—  : — 

horn, 
horn, 
horn. 


XET  A. 


KINGDOM.    7s. 


Wm.  Mason,  Mus.  Doo. 


:8|  .8, 

1. 

;ni  .Hi 

l.Cone,  thoi 

2.  Bon  tbj 

3.  Bj    thiu 

:d  .d 

fl 

long 

peo 

own 

d 

:d,  .d, 

fi 

f!8|    .S| 

:8,  .n, 

1  From  our 
Born  to 
|By    thine 

^d  .d 

li 

fi 

sins 
reign 
aU    - 

d 

i:mi  .d| 

fi 

•  t, 

:d    .r 

tn 

:d 

:1,    .d 

f 

.fi 

:8|  .S| 

8| 

:s, 

:fi    .8, 

fi 

ex 

•  pect-ed 

Je    - 

-      BUS, 

Bom  to 

set 

pie 

to       d§- 

Uv   - 

-    er. 

Bom  a 

chUd, 

e    - 

ter  -  nal 

Spir 

-    it. 

Rule  in 

aU 

.r 

:d    .t| 

d 

:d 

:d    .S| 

1| 

.ri 

:mi  .8| 

d 

:ni 

:f,   .m. 

ri 

•  t, 

:d   .r 

rn 

:f 

:8    .f 

m 

.fl 

:mi  .8| 

S| 

:1| 

:8,  .1, 

S| 

and 

fears  re  - 

lease 

UB, 

Let    ua 

find 

in 

us      for- 

ev    - 

-    er, 

Now  thy 

gra 

Bnf 

-  fl  -  cient 

mer 

-     it. 

Raise  us 

to 

•  r 

:d    .t| 

d 

:d 

:d   .d 

d 

.ri 

:li    .8| 

d 

:li 

:ni  .f. 

8| 

•  mm 


.m   :r    .d 

d 

:ti 

.8|    :1|    .f| 

8| 

• 

thy    chil  -  dren 

free; 

and   yet    a 

King; 

our    hearts  a  - 

lone; 

.d    :f    .d 

n 

:r 

•  PI)  :f|    ^li 

S| 

•     ' 

.d    :r    .t| 

d 

.  8|    :  8|    .  f| 

Hi 

• 

our     rest    in 

thee. 

cious  king-dom 

bring. 

thy    glo  -  rious 

throne. 

.n    :f    .r 

n 

■ 

.8|      :8|     .8| 

d, 

• 

{ 


THIBD  STEP. 


:m 
:d 

ly 

■     ing 
a  - 

:s 
:d 

:t 
:r 

The 
He  - 
To 

:s 

:s, 


KEV  D.    M.  90,  beating  twice, 


MY  MOUNTAIN  HOME. 

Words  and  Musib  by  Aldine  S.  Kibfteb,  by  per. 


I.  Doo. 

:t, 


:r 


:s 

8      :m    :8       1      : 

—  :s 

—  :n 

8     : 
n    : 

• 
• 

—  :r  .m 

—  :t|.d 

f     :n     :f 
r     :d     :r 

1      :- 
f     :- 

:8 

:n 

n     :d     :m     |f      : 

:n 

1. 1 

love              my    moun 

-    -    tain 

home. 

Where 

wild             winds    love 

to 

2.  For 

here              the    wild 

flow'rs 

sweet 

Spring 

up                a    - 

-  round 

my 

3.  'Tis 

sweet            to       wan      - 

-    der 

here 

By 

foun    -    -  tains 

cool 

and 

4.  My 

monn    -    -  tain    home 

for 

me. 

Where 

wild             winds     wan    -    - 

der 

:d' 

d'     :       :d'      d'     : 

:d' 

d'    :- 

• 
t 

• 

—    :s 

8     :—    :8 

8      : — 

:8 

:d 

d     :—  :d      d     : 

:d 

d     :- 

• 

-   1-    :■ 

—    :S|        S|     : —    :8| 

8,     :  — 

:si 

n     •         •                  • 

:n  .f 

8      :  — 

:s 

d'     :  — 

:d'.d' 

r'     :         :d' 

1      :  — 

:1 

d     :—    :-    1-    :- 

:d  .r 

n     :  — 

:m 

m     :  — 

:n  .n 

f      :-     :f 

f      :  — 

:f 

roam!                                           Where  tlie] 

cy 

-  press 

vine 

and  the 

whisp    -    -  'ring 

pine 

A    - 

feet, 

And  the 

lau 

rel 

blows 

'mid  the 

cy        -        -  press 

gloom 

Of 

clear. 

And 

talk 

of 

love 

where  the 

coo    -     -     -  ing 

dove 

A    - 

free.                                               With  my| 

own 

true 

love 

who  will 

nev    -      -      er 

rove, 

Mv 

8      :—    :—     —    :— 

:s  .8 

d'     : 

:d> 

8     :  — 

:s    .8 

1      :-    :1 

d'     : 

:d' 

d     :—    :—     —    :  — 

:d.d 

d     :- 

:d 

d     :- 

:d  .d 

f      :         :f 

f      : 

:f 

8      :—    :n       8      :f 
m     :—    :d       t|     :  — 

:r 

d'    :- 
d     :  — 

t 

• 
• 

i                      « 
• 

:s 
:m 

8 
PI 

:m      :s 

1 

d'     : 
n     :  — 

:t 

:d      :p 

:r 

dom               each      gran    -    - 

-ite 

dome. 

I 

love                 my 

moun    - 

tain 

many             a            sweet 

re  - 

treat. 

lone               may       see 

and 

hear. 

moun    -    •  tain       home 

for 

me. 

I 

love 

my 

d'    :—    :8        8      :  — 

:f 

n     :  — 

• 

j     "                •    ' 

• 

:         :d' 

8      :  — 

:f 

8      :—    :8        8|     : 

:si 

d     :- 

• 
• 

! 

1            • 

• 
• 

:         :d 

d     : 

:d 

d'    :—    :—     8      :  — 

:m 

:d 

I 

1      :- 
f      :- 

love 

:s 
:m 

my 
I 

f     :- 
d     :- 

moun    - 
love 

:d 

-    tain 
my 

r      :—     :  — 

t|      :  —     :  — 

home, 

moun    -     -    tain 

• 

home. 

:f 

d     :—    :—     n     :  — 

:r 

home. 

Where 

moun 

-    -    tain      home, 

n    :—    :8       d'     :  — 

• 

• 
• 

:m 

1      :- 

:s 

8      :t       :r' 

8      :  — 

:8 

d     :—    :d       d      :- 

• 
• 

• 

:d 

d     :- 

:d 

8|      : —     :8| 

8|     :  — 

:8| 

m  :r    :m     8    :—  :8 

1     :       :f     Id' 

:t 

:1 

8    :- 

-  :m    |8     :f     :r 

d 

•  .    .     •      _ 

•  • 

• 

d    :ti    :d    jn   :—  :m 

f    :       :f      1 

:s 

:f 

m  :- 

-  :d    |t|    :—  :t| 

d 

•             • 

• 

skies          are     blue,           and 

hearts        are      true 

1 

I 

love 

my     moun    -    tain 

home. 

8    :—  :8      d'   :—  :d' 

d'   :       :1      f 

• 

:1 

d'  :- 

-  :s      8     : —  :f 

n 

:-  :-| 

__^     ^  __ 

d   : 

—  :d     d    :—  :d 

f    :- 

-  :f 

f 

• 

:f 

8    :- 

-  :8     ' 

8| 

:—  :8 

d 

•  • 

•  • 

■■■"     •  ""■ 

i 


...'... im.'^^mm* 


52 


THIRD  STEP. 


Second  Verse  and  Cbonis  by  T.  W.  D 
KEY  A.    M.  72. 

.d 


SUN  SHOWER. 


S|  ,f|  .Hi  ,f|:8| 

mi,ri  .d|  ,ri:ni     .m\ 

1.  Sparkling  in  the  sunlight, 

2.  Clouds  are  flying  swiftly, 

d  ,d  .d  ,d  :d      .d 
d|  ,d|.d|  ,d| :d|     .d| 


d  ,t|  .d  ,1|  :S| 

Ii  ,1|  .1|  ,f|  :mi 

Dancing  on  the  hills, 
Sunlight  breaking  throngh, 

d  »d  .  d  ,d  :  d 

fi  >fi  •  fi  >fi  !  d| 


S|  ,S|  .S|  ,S|  :d       .d 
mi,n|.ni  ,ni:si      .S| 

Tapping  at  my  win  -  dow. 
Everything  is  shin  -  ing, 

d  ,d  .d  ,d  :d       .d 
d|,d|  .d|  ,d|  :mi     .  pii 


T,  W.  Demminoton,  by  per. 

r  ,r  .n  ,n  :r 

S|  ,8  .S|  ,St  :S| 

Singing  in  the  rills; 
As  with  morning  dew; 

t|  }t|.d  ,d  :t| 
S|  ,S|.d  ,d  :8| 


\ 

) 


s  ,f  .m  ,f  :s       .m 

S|  ,S|  .S|  ,S|  :S|      .S| 

Comes  the  pleaBant  sunshower 
Palling  on  the  moun  -  tain, 

pi,r  .d  ,r  :n      .d 
d,d  .d  ,d  :d      .d 


d  ,d.d  ,m  :f 
p\\ ,pi|.n|,S|  :1| 

Like  a  glad  surprise. 
In  the  fer-tile  vale, 

d  ,d  .d  ,d  :d 
d|  ,di.di  ,d|  :f| 


f  ,f  .f  ,f  :n      .r 

li  ,1|  .1|  ,1|   :si      .S| 

While  I  gaze  with  won-der 
Giving  joy  and  glad-ness. 

d,d  .d  ,d  :d      .f 

fi  ,f|  .f|  ,f|  :  8|      .  S| 


d  ,t|  .m  ,r   :d 

S|  ,S|  .S|  ,f|   :  mi 

At  the  changeful  skies. 
Comes  the  gentle  rain. 

m,r  .d  ,t|  :d 

S|,S|.S|  ,S|  :d| 


8       .m       :8       .n 

Put    -  ter,        pat     -    ter, 

d  ,d  .d  ,d  :d  ,d  .d  ,d 

Putter,  patter,     patter,  patter, 

m      .8        :n      .s 

Pat    -  ter,        pat     -    ter, 

di  ,d|.d|  ,d|  :d|  ,d|.d|  ,d| 

Patter,  pattur,     patter,  patter, 


d      .1,  :d 

hear     the  rain, 

li  ,1|  .1|  ,1|  :S| 

Listen  to  the  rain, 

f       .f  :n 

hear    the  rain, 

f|  »f|'f|  »f|  Jd| 
Listen  to  the    rain, 


S|        .d 

Gen  -  tie 

n|,m|.S|   ,S| 
Patter,  patter, 

d       .m 

Gen  -  tie 

d|  ,d|.d|  ,di 

Fatter,  patter, 


:n      .8 

spring  has 

:8|   ,S|.S|   ,8| 
patter,  patter, 

:8       .m 

spring  has 

:d|,d|.d|  ,d| 

patter,  patter, 


f       .n       :r 

come    a    -    -  gain; 

t|  ,t|  .d  ,d  :t| 

Spring  has  come  again; 

r       .d       :  t| 

come    a    -    -  gain; 

S|  S|   .8|   ,8|   :8| 
Spring  has  come  again ; 


8       .m       :8       .m 

Pat  -  ter,         pat    -   ter 

d  ,d  .d  ,d  :d  ,d  .d  ,d 

Patter,  patter,  patter,  patter, 

m      .8        :m       .8 

Pat  -  ter,         pat    -   ter 

d|,d|.d|,d|  :d|,d|  .d|  ,d| 

Patter,  patter,  patter,  patter, 


d      .1,        :d 

soft      re    -     froin, 

1|  ,1|  .1|  ,1|    :8| 
hear  the  soft  refrain, 

f      .f       :n 

soft      re    -     frain, 

fi  ,f|.f|  .f|  :d| 

hear  the  soft  refrain. 


Si      .d       ;n      .r 

Tap  -  ping         on       the 

n|,n|.8|   ,8|   :8|  ,8|  .1|   ,1| 

Tapping,  tapping,  tapping.tipping 

d      .m       :8      .f 

Tap  -  ping        on       the 

di,d|.d|  ,d|  :d|,di'fi  »fi 

Tapping,tapping,tapping,Uppiiig 


d       .t, 

win  -  dow 


:d 

pane, 

8|  ,8|  .S|   8|    :8| 
on  the  window  pone. 

n      .r       :n 

win  -  dow        pane, 

S|  ,8|  .8|   8|    :d| 
on  the  window  pane. 


I 


II 

w 


KEY  D.    Hound  for  two  parts 

* 

d     :m     |8     :8 

War  -  ble      for      us. 


f     :f 

Gen  -  tie 


n    :m 

ech  -  o, 


d>    :d>    It     : 

ech  -  o        sweet, 

1      :1      |8     : 

woke  from    sleep. 


KXT  8.    Bound  for  four  parts. 


its,      I 

(  For       I 


8       :8 

health  and 


8 


* 

:f 


strength  and 


m 

dai 


1     :1 

ech  -  o 

f     :f 

Gen  •  tie 


:m 


In 

food, 


|8     : 

sweet, 

I  m    :m 

ech  •  o, 


:r 

We 


f     :f 

Soft  -  ly 

r     :r 

clear  and 


d       :d 

praise  thy 


I  m    :n 

now    our 

Id     : 

deep. 


Id      :t, 

name.     O 


r     :r 

song    re  - 

8     :8 

clear  and 


d 

Lord. 


Id     ! 

peat. 

I  n     : 

deep. 


THIRD  STEP. 


68 


KKi  A.    M.  72. 


SERENADE. 


!m  .m 

liSi    .S| 

/l.filMp  01, 

)2.To    the 
/3.  And  the 

:d  .d 
:d|  .d| 


n 

dear 

chain 

woo 

d 


:d 
:mi 

est, 
her 
ing 

:8| 

:d, 


:d 


.d 


while  a  - 

of       her 

ni^ht  wind 

.1| 


:d, 


.d 


round 

dwell 

bears 

S| 

d, 


:s, 
:mi 

thee 
-    ing, 
them 

:d 
:d, 


:S|  .S| 
:  mi .  f| 

All    is 

Wliere  my 

Far  a  - 

:d  .r 


8| 

S| 
wrapt  in  si 


:8| 
:s, 


8| 

S| 
wi 
love 
way 

n  .  p\ 

d| .  PI]  :S|  .S| 

All  is  wrapt  in 
Where  my  love  in 
Far    a  -  way   o'er 


in  slum    • 
o'er  dis 

m 


:s, 

lence 

ber 

tant 

:r 

:S|  .S| 

fii  -  lence 

slumber 

dis-tunt 


8| 

mi 

deep; 

lieu: 

plain; 

d 

d, 

deep; 

lies; 

plain; 


:S|  .8| 
:  mi .  Hi 

While  thel 
Thro'  the? 
And    theV 


chains 

trees 

dream 

fi  : 
d  .d    : 

While  the 
Thro'  the 
And    the 

fi  .fi    : 


:t|   .1, 

sleep  have 
love  -  tones 
fair   one 

:8,   .f, 
:d   .d 

chains  of  sleep  have 
trees  in  love -tones 
dream-ingfidr  one 

fi   .f,    :f|   .f| 


.d 

of 
in 
ing 

.1, 

.d 


S| 

bound 
tell      - 
hears 

m, 
d 

bound 
tell      - 
hears 

d, 


:d 

thee, 

ing, 

them, 

:mi 

:s, 

thee, 
them, 

:d, 


:d   .m 

God  doth 
As     on 
Hears  and 

:mi  .S| 


/ 

s 

con 

gold 

sweet 

t| 

r   .r 


.f    :m  .1' 

stant  vig  -  ils 
en       lad  -  der 
ly      dreams  a 

.t|    :d   .S| 
.  r    :  d    .  t| 

God  doth  con  -  stant  vig  -  ils 
As    on    gold -en       laci"- ders 
Hears  and  s\vuet-ly   dreams  a 

S|  ,S\    :S|  .S|    :S|   .S| 


:r 


m 

keep. 

rise. 

gain. 

S| 

d 

keep, 
rise. 

f;ain. 

d, 


Dim. 

:m   .m 

Con  -  stant  ] 
As        on 
Sweet -ly 


vig        -        -        - 

lad 

dreams 

f,    .f,    :1|    .1 

God  doth  con  -  stant  vig 
As  on  gold  -  en  lad 
Hears  and  sweet  -  ly 

li    .li    :d    .d 
fi    .f|    :f|    .f| 


:d 

ils 
ders 
a     -      - 

:si    .f| 

lis 
ders 
dreams  a  - 

:t|    .1| 
:fi    .fi 


d 

keep. 

rise. 

gain. 

m, 

keep. 

rise. 

"aia. 


:d    .d 

Con  -  stant 
As       on 
Sweet  -  ly 


S| 

d, 


s,            :  — 

:si 

8| 

vig 

ils 

keep 

lad 

ders 

rise. 

dreams 

a 

- 

gam. 

Y\   .  ni   :S|    .f| 

:ni 

•  ri 

m. 

God  doth  con  -  stant  vig  - 

ils 

keep 

As     on      gold  -  tn 

lad 

■  ders 

rise. 

Hears  and  sweet  -  ly 

dreams  a  - 

gam. 

t|    .d     :m    .r 

:d 

.t, 

d 

S|    .S|     :S|    .  S| 

:S| 

.S| 

d, 

KEY  At2. 

:8| 
:mi 

\l.  Lord, 

/2.A 

lao 
:d 

:d, 


EVAN.    C.  M. 


S|  .d   :m 

mi .  mi  :S| 

I  be  -  lieve 
rest  where  all 
that  I      now 

d  .d   :d 
d| .  d|  :  d| 


:r 
:f 

a 

our 
the 

:t, 
:8| 


d  .It    :si 


m|.x|   :mi 

rest  re  -  mains 
souls  de- sire, 
rest  might  know, 

d  .d   :d 
li  .f,  :d, 


:si 
:mi 

To 
Is 
l?e 

:d 
:d, 


S|  .d   :m  :d 

mi .  mi  :  mi  :  mi 

all    thy    pco  -      plo 
fixeilon   things       a     • 

lieve  and  en  -      ter 

d  .d   :d  :d 

d| .  di  :  1|  :  1| 


FLlkTEBOA.L. 
. .f 


8,         :— 

known, 

bove, 

in, 

ti         :- 
St        :  — 


:8| 

A 

^Vhere 

Now, 

:r 

:S| 


It.        ) 
:        1 

/ 

m   .r    :d 

:r' 

m    .d    :1| 

:8, 

8|    .d 

:  m 

:r 

d           :- 

ep.               1 

S|  .fi    :mi 

rest  where  pure 

:8| 

S|    .  8|    :  f| 

'r\ 

mi  .  mi 

:si 

:fi 

mi          :  — 

\ 

en     -    - 

joj-  -  ment  reigns, 

And 

thou  art 

loved 

ft    -    - 

lone. 

) 

fear,  and     sins, 

and 

grief  ex  -  pire. 

Cast 

out    by 

per    - 

•     feet 

love. 

\ 

8nv-iour,   now 

the 

pow'r  be  -  stow, 

And 

let     nie 

i'.eOBB 

from 

sin. 

'- 1 

1 

d   .t|    :d 

:ti 

d    .d    :d 

:t| 

d    .d 

:d 

:ti 

d           !— 

d|  .8|    :1| 

.8> 

d|  .  mi  :f| 

:8| 

d,  .li 

:8| 

:si 

d          :— 

64 


THIRD    STEP. 


CANON.    NOW  THE  EVENING  PALLS. 
KET  Bt2.    M.  104.     May  be  sung  in  two,  three  or  four  porta. 


m 

Now 


fl 

foot 

r 

bird 

ri 

falls. 


r 

the 


1. 

No 

Pll 

steps 

d 

of 


\ 


S| 

calls 

S| 

:fi 

bird 

of 

n 

:r 

now 

the 

Hi 

loan 

, 

ll 

;  — 

falls. 

1| 

:si 

now 

the 

:li 

No 

f, 

:ni 

font 

-  steps 

roam, 


calls 

8| 
bird 


No 


f, 

of 


d 

eve  • 


t. 

ning 


1| 

falls, 

1| 

Now 


r     : 

d 

long- 

er 

ri 

— 

home. 

ti     : 

1| 

twi  - 

light 

n,.f, 

The 

roam 


8| 
calls 

8| 

bird 


8| 

the 


— 

:t|.d 

The 

fl 

:ni 

eve 

-  ning 

r     :d 

bird   of 

r,    :  — 

faUs, 


ri 

No 


fl 

of 


— 

:d.r 

For 

S| 

:fi 

long 

-  er 

:l|.t| 

Our 

n, 

:ri 

twi 

-  light 

:l|.t| 

d     : 

Our 

foot  - 

n,   :r, 

d,    : 

twi  -  light 

calls 

d     :t| 

li     : 

eve  -  ning 

falls. 

—  :f|.s, 

li     : 

For 

now 

:t|.d 

The 

fl 

:n, 

eve  - 

r 

ning 

:d 

long 

-  er 

ri 

« 

home,          1 

the 


r     :d 

bird    of 

r,    :  — 

foils, 

t,     :- 

roam, 

—   :r, 

No 


li     :- 

• 

home. 

:r|.n, 

fi     : 

Our 

foot  - 

—  :t|.d 

r     : 

The 

bird 

fi     :ni 

ri    : 

eve  -  ning 

falls. 

n    :r 

now    the 

nil    :  — 

roam, 

d    :t, 

foot  -  steps 

d,    :- 

calls 

ll 

No 

Pll 

steps 

d 

of 


t. 

:li 

twi  ■ 

light 

— 

:n|.f| 

The 

— 

:d.r 

For 

8l 

:fi 

long 

-  er 

8| 
calls 

8| 
bird 

m 

now 

Pll 

roam 


fl 

of 

r 

the 


is, 

long 


I  Pll 
twi 


d.r 

For 

fl 
er 

l|.t, 


Our 

ri 

li«bt 


PI 

now 
Pll 

roam, 

d 

foot  - 

di 

ciilU, 


:r 

the 


:ti 

steps 


( ve 


111 
home, 


t| 
ning 

f|'8| 
No 


t|     :1| 

twi  -  light 

—    :pi|.f| 


The 


eve 


:t| 

■  ning 
:f|.8| 


For 
ll      :  — 

home, 

—  tri.pi 

Our    I 

r     :d 

long  -  er 

r,    :  — 

home, 

t,    :li 

twi  -  light 

—  ;pi|.f| 

The 
—     :l|.t| 


Pl| 

twi 

d 

eve 


Our 

:ri 

light 

:t, 

-  ning 
:f|;.S| 


No 


Pll 


ll 
falls, 

1| 


For 

:li 

No 


long 


:li 

No 

:p1i 


long 


S|     :  — 

calls 

S|     :f, 

bird    of 

PI    :r 

Now  the 


ll     :- 

falls, 

li     :S| 

now    the 

-  :li 

No 

fi     :n, 

foot  -  steps 

ti    :- 

roam, 

—  :r| 

No 

s,     :  — 

calls 

8i     :fi 

birc'    of 

d    :t| 

foot  -  stepa 

di    :- 

calls 

ll     :- 

falls, 

1|     :8| 

now   the 

Hi 

long 

if| 

-  er 

Hi 

long 

llL_ 

-  er. . . 


—   :l|.t| 

d     : 

Our 

foot  - 

PI,    :ri 

di    : 

twi  -  light 

d     :t| 

calls, 

ll     : 

eve  -  ning 

• 
• 

falls, 

ll     : 

Now 

Beetbotbit. 

t, 

steps 


:t|.d 

The 

fl 

:pi, 

eve  - 

ning 

r 

:d 

long 

-  er 

ri 

home,          1 

:d.r 

For 

S| 

:fi 

long 

-er 

— 

:l|.t| 

Our 

n. 

:ri 

twi  • 

•  light 

ll 

home. 


I 
eve 

t. 
er 


8| 
er 

8| 


• 
• 

:r|.Pi| 

fl     : 

Our 

foot-t 

:t|.d 

r     : 

The 

bird 

:pii 

ri    : 

ning 

falls, 

8| 
the 

r     :d 

bird  of 

r,    :  — 

falls, 

t,    :- 

roam, 

—  :r. 

No 

PI    :r 

now   the 

pii    :  — 

roam, 

d    :t| 

foot  -  steps 

d,    :- 

calls 


ll 
No 

n, 

steps 

d 

of 


d 

roam. 

PI, 

roam. 

8| 
roam, 

di 

roam. 


:ti.d 


Our 

r     :d 

long  -  er 

r,     :  — 

home, 

t,     :1, 

twi  -  light 
—     'Hi.f,) 
The 


i-       I- 


V 


THIRD  STEP. 


EVETTINQ  PRAYER. 


K£T  AiZ. 

^ 

J.  H. 

Tenket. 

8|       :-  .S|  :8|  .d 

m 

• 

:r 

d       :-      :- 

d 

:t, 

:li 

8,       :  — 

• 
• 

nil      :-  »p\\:b\  .8| 

8| 

• 

:fi 

Hi      :•—      :  — 

li 

:si 

:f| 

pii      :— 

• 
« 

1.  God,        who  modest 

earth 

and 

heaven. 

Dark 

-  ness 

and 

light. 

2.  Guard        us  when  we 

sleep 

Ot 

wake, 

And 

when 

we 

die. 

d      :-  .d  :d  .n 

d 

• 

:t, 

d       :-      :— 

d 

:d 

:d 

d       :  — 

• 

• 

d|      :-  .d|  :m|.d| 

Si 

9 

:8| 

d|       :  —      :  — 

f. 

:fi 

:fi 

d,       :- 

• 
• 

8,      :-  .8,  :8|  .d 

n 

•             - 
• 

:r 

d                 : 

r 

:d 

:t, 

d       :~ 

:t|  .d 

pii     :-  .Piiisi  .S| 

8| 

• 

:f) 

nil      :—      :  — 

li 

:8, 

:fi 

nii      :  — 

:S|  .S| 

Who             the  day  for 

toil 

has 

given, 

For 

rest 

the 

night. 

May  thine 

Wilt            thou  then  in 

mer 

. 

.    cy 

take 

Our 

eouls 

on 

high; 

When  the 

d      :-  .d  :d  .n 

d 

•            - 
• 

:t, 

d      :-      :— 

f 

:n 

:r 

d       : 

:r  .d 

d|      :-  .d|  :n|.d| 

S| 

•              - 
• 

:8| 

li       :-      :~ 

f| 

:s|- 

:si 

d,       :- 

.3|   .Pl| 

r         :-   .r    :n    .r 

r 

:d 

:d    .r 

rn  •       :- 

.n 

:f    .n 

m 

:r 

:r    .r 

8|        :-   .8|   :si    .f| 

fi 

:ni 

:m,  .f, 

s,         :- 

.8, 

:S|  .8) 

Sl 

:8i 

:S|    .8| 

an        -        -   gel  guard    de  - 

fend 

us, 

Slumber 

sweet 

thy 

mercy 

send 

UB, 

Ho-  ly 

lost                  dread  call  shall 

wake 

us. 

Do     not 

thou. 

our 

Lord,  for- 

sake 

US, 

But   to 

t|        :-   .t|   :d    .t| 

d 

:d 

:d    .d 

d         :- 

.d 

:r    .d 

d 

:t| 

:t|   .t| 

8)        :-   .S|   :8| 

.8| 

d, 

:d, 

:d|   .d| 

d         :- 

.d 

:t|  .d 

8| 

:si 

:8|    .8| 

r         :-  .r  :d    .r 

8|        :-  .8|  :8|    .8| 

dreams  and  hopes  at  - 

reign  in  glo  -  ry 

t|         :-  .t|  :d    .t| 

S|         :-  .f|  :ni  .ri 


n 

S| 

tend 

take 

d 
d, 


:d 
:li 

us 
us 

:d 


% 
ft 

This 
With 

4 


:8| 
:s, 

live    - 
thee 

:d 
:rni 


:fi 

long 
on 

:t, 
:ri 


S|  :— 

pii  :  — 

night, 
high. 

d  :  — 

d,  :- 


KET  D.    Round  in  three  parts. 


1 


II 

II 
11 


d'      :t 

Hark  I  the 
* 

m      :8 

Night    is 

d      :- 

One, 


|I       :8       11       :t 

dis    -    tant      I  bell       re 


Id 

Two, 


f       :m      I 

come,     our       I 


f       :f 


d      :- 

Three, 


|d<      :8 

minds    us. 


n      :n 

end  -    ed. 


Id 

Four, 


8       :s       |1       :1 

That     an    -     oth    ■     er 


In      :m       |f      :f 

I  Friends,  good    night,    'tis 


d 

Five, 


Id 

Six, 


d>      :1       1 8 

hour      is  fled ; 


1       :f 

time     for 

d       :  — 

Seven, 


in 

bed. 

Id 

Eight. 


56 


THIRD  STEP. 
HURRAH!  FOR  THE  MERRY  GREEN   WOOD. 


KE 

:S| 

Y  G..         M.  108  twioe. 

d  :d    :d     d   :d 

mh  for    the     mer-ry 

d   :d    :d     d   :d 
d   :d    :d     d   :d 

rah  for    tne      mer-ry 

d  :d   :d     d   :d 

Observe  the  accent. 

:r      n  :-    :n     m   :- 

green    woods,      hur  -  rah! 

:r      n  :-    :n     n   :- 
:r      n  :-    :n     n   :- 

green    woods,      hur  -  rah! 

:r      m  :-    :n   |n   :- 

:r 

Hur- 

:t| 

• 

• 
• 

n  :- 

:-     s     : 

-  :r 

Hur- 

-  :t, 

• 
• 

• 
• 

n   :- 

rah! 

d    :- 

• 
• 

• 
• 

A.  L.  COWLBT. 

-    :-    |b     ! 

Hur- 

:si 

rah! 

d   :- 

:-     m    : 

-    :-     m    : 

:si 

Ilur- 

:s, 

• 
• 

• 
t 

:s     s     : 

Hurruh! 

:d    d    : 

:s     s     : 

Hurrah! 

:d    Id    : 

:8 

llur 

:s, 
:s 
»i 


n  :n  :n  Ir    :r    :r 

rah  for  the  mer-ry    green 

d  :d  :d  |t|  :t|  :t| 

s    :s  :s  |f    :f    :f 

d  :d  :d  |S|    :S|  :S| 


d    :- 


woods, 


d 
m 
d 


I-    :-    :8| 

l.The 

2.  No 

3.  Nc 

4.  No 


Hur  -  rah    for    the      mor-ry    green-woods, 


:8,  |S| 
:n  |n 
:d   Id 

hur-rah! 


1.    :-   :1 


H 

8un 
lord 
pal    - 

state 

1, 


1| 
f 

f| 

La,  la,  &Xi. 


I 
on 

ly 

ace 

ly 
li 
f 


high,  in  the 
hall  with  its 
floor  all 

chair  with  its 

Hi 

If 
lfl 


d   :d   :d   Id    :- 


cloud 
col 

carp-et 
cush    - 


'  less 
umns 
•  ed 
ions 


S|  :S|  :S| 
n  :  n  :  n 
d   :-   : 


sky, 
tall, 
o'er, 
fair, 

|S| 

In 
Id 


:d 


t|  :t|  :t|    |t|    :t|   :d 

forth  with  a      smile         to 
vie     with  my  for    -    -  est 
vie     with  uiy  car  -  pet    of 
my     mos-sy    bunk  out- 


S|  :S|  :S| 
r  :r  :r 
St  :-    : 

La,  la,  <S:c. 


|s,   :si   :s, 
|r    :r    :r 

Isi   :-    : 


r   :-    :-     r 


meet 
ghule, 
.^reen, 
vie, 

ti  :- 
r  :- 

S|  :- 


ti 
r 


me,  And 
And 
And 
And 

It,  :s, 
|r  :s, 
I-   :s, 


:s, 

the 
no 
no 
no 

:s, 
:s| 
:si 


m 


:r    :d    |t|    :1|    :S| 


fresh    -  'ning  breeze,    comcR 
la    -    -    dy's    bower,     with 
gob    -     let      fine,  with  its 
crown  -  ed        head,         on 

m   :r    :d   |t|    :1|    :S| 


PI   :r 


:a 
:d 


It, 
It, 


:1| 

:li 


:s, 
:s. 


f    :n  :r    |d    :t| 

through  the  trees,  With] 
trel-lis     and    flow-er 

By 


10     -     - 
down   - 

f    :m 


ny 

:r 
:r 
:r 


wine 
bed 

Id    :t, 


Id 

Id 


:t, 


li 

1| 
Com- 

1| 
Com- 

1| 
Has 


8|       :S|  8| 

wel    -    -  come 

S,       :  8,  8| 

I)aro  with  my 

t,       :t|  t| 

pare    with  my 

S|       :  8j  8| 

hap  -  pi  -  er 


Is,    :1|     :t| 


true 

If.     :- 

green 

It,    ;d 

crys    - 

|8|      •  — 

dreams 


I 
to 

:fi 

trees 

:r 

-  ttti 
:8, 

than 


:-    :-   Id 


greet 

m,   : 


me. 

In, 


shade 

d  j:—   :  — 

stream. 

d,   :—   :  — 


Id 
Id, 


I. 


-   :S|  .8, 

Then  hur- 

-  :  8,  .8, 

Then  hur- 

-  :S|.8| 

Thenhur- 

-  :S|  .8, 

Then  hur- 


d  :d 

rah  for 

d  :d 

rah  for 

d  :d 

rah  for 

d  :d 


the 

d 

the 

d 

the 

d 


me 

Id 

mer 

Id 

mer 

Id 


ry 
:d 

ry 
:d 


:r 

grpen 
t  reen 

:r 

green 

:r 


rah     for       the    mer  -    ry      green 


JOWIBT. 

Is     :- 


m    ;- 


|s 

rrab! 

Id 


Id    :- 

sky, 
tall, 
o'er, 
fair. 


n 
d 


Id 

:t, 

;rees. 

With 

flow 

-er 

vnne 

bed 

Id 

:t, 

d 

:t, 

Id 

:t, 

:r 

green 
t  .een 

:r 

green 

:r 

green 


TUIIID 

STEP. 

n  :~ 

:m  |n  :—  :r 

m  :— 

:—  8 

:—  :r 

m  :  — 

:—  8 

:—  :s 

woods, 

Hurrah  I            Ilur  - 

rah! 

Hur- 

mh ! 

Hur- 

m  :  — 

:n    n   :—  :t| 

d  :- 

:—   n 

:--  :t| 

d   : 

:—   m 

:-  :d 

n  :  — 

:n    n   :—  : 

• 
• 

:s     s 

•             • 

:s     8 

:—  :m 

woods, 

Hurrah ! 

Hurrah ! 

Hurrah ! 

Hur- 

m  :  — 

:tn    n   :—  : 

• 
• 

:d     d 

•  • 

•  • 

• 
• 

:d     d 

:-  :d 

67 


1    :1  :1  |1    :1  :1 

rah  for  the  mer-ry  grMn 

d  :d  :d  |d  :d  :d 

f   :f  :f  If   :f  :f 

rah  for  the  mer-ry  green 

fi  :fi  :fi  |fi  :fi  :fi 


s    :—  :—  |~  :—  :8| 

woodH,  Hur- 

d   :—  :—  I— J—  :si 
n  :--  :—  |—  :—  :tf 

woodH,  H'  ir- 

d   :—  :—  |—  :—  :si 


r    :—  :—  |—  :—  :r 

woods,  Hnr 

t,   :-  :-  I-  :-  :t, 
8    : — 

woods, 

s,   :— 


d    :—  :       I 

woods, 

d    :—  :       I 

m    : —  :8     |8 

woodB,  Hur-rah ! 

d    : —  :8     1 8 


8   :- 

rah! 

t,  :- 


f  :- 


Id 

Im 


rah  ! 

Si  :—  : —  Id 


PI 


rah ! 

d  :- 


—    n 


8      {8 
Humih  I 

d    id 


:8, 
Hur- 
ra, 
:8 

Hur- 
ts, 


:r 

Hur 

:ti 


8    :- 

rah  I 

ti  :- 


:-  Id    :- 


n 


riih  ! 


:8 

f   :f 

:f 

n   :n 

:n 

Hur- 

rah  lor 

the 

iner  -  ry 

green 

:n 

r   :r 

:r 

d    :d 

:d 

:8 

s   :8 

:s 

Is    :s 

:8 

Hur- 

mil  for 

the 

mer  -  ry 

green 

:d 

t,  :t| 

:t. 

Id    :d 

:d 

PI 


rah 

d 


—  In 


s    {s 

Hurrah  ! 

d   Id 


—  :s 

Hnr 

—  :si 

—  :s 

Hur 

—  :s, 


PI  :pi 

:n 

|r   :r 

:r 

rnh  for 

the 

mer-ry 

green 

d  :d 

:d 

t,  :t, 

:t, 

s    :s 

:s 

f   :f 

:f 

rab  for 

the 

mer-ry 

green 

d  :d 

:d 

is,  :s. 

:8| 

:s 

m    :pi 

:pi 

r     :r 

:r 

d    : 

• 
• 

Hur- 

rah   for 

the 

mer  -  ry 

green 

woods. 

ts, 

d    :d 

:d 

t,     :t, 

:t, 

d    :- 

f 
t 

:8 

8     :s 

:s 

f     :f 

:f 

n    :— 

:s      s 

Hur- 

rah    for 

the 

mer  -  ry 

green 

woods, 

Hur-rah ! 

•8| 

d    :d 

:d 

8,    :si 

:8, 

d    :— 

:s     Is 

:s 

1     : 

• 

Hur- 

rah! 

Hur 

• 
• 

• 
• 

:d 

:pi 

f    : 

• 
• 

Hur- 

rah! 

Hur 

• 
• 

• 
t 

:f, 

—M»              •"""" 

:8 

1     :~     : 

rah! 

Hur- 

rah! 

d    •- 

• 
• 

•  • 

•  • 

• 

:n 

f     :       : 

rah! 

Hur- 

rah! 

f.    :- 

• 
• 

•  t 

•  • 

—    —   : — 

:1 

8     :8 

:8 

Is 

:s 

:8 

8       .— 

:8 

d< 

Hurrah ! 

Hur- 

rah    for 

the 

mer 

-  ry 

green 

woods. 

Hur 

-  rah 

d     d     :- 

:d 

t,    :t| 

:t, 

t. 

:t, 

:t, 

d    :- 

tt, 

d 

—  1 —   : — 

:f 

f     :f 

:f 

f 

:f 

:f 

n    :— 

:f 

m 

Hurrah ! 

Hur- 

rah    for 

the 

mer 

-  "7 

green 

woods. 

Hur 

-  rah 

f.     f,     :- 

:f> 

8,    :s, 

:8, 

Is- 

5  8| 

JS, 

d     :— 

:8i 

Id, 

M 


K6 


TUIBD  STEP, 


SET  D.    M.  112. 
Boldly,  wilhont  dragging. 

d>    :t     |d> 
m    :f    |8 

Woke  the    song 
S       :8      |8 

d     :r     In 


] 


:-.l 

8     : 

:-.f 

n    : 

of 

Ju    - 

:-.d' 

d'    : 

:-.f 

8     : 

-.f 

.r 

-bi 
.8 

-.8, 


r 

:n 

j« 

-  bi 

t 

:d' 

lee, 


f     :8 
d     :d 

Let     it 

1     :8 
f     :n 


11 

Id 

ech 
If 


f 

HOV 


eign  pow" 

d<    It 


d' 


8 

Let 


:r' 
:f 

-o 

:1 
ir 


:8     jl     :t 


m    :n  |f    :f 

Let     it  Ronnd  from 

8    :di  |d<    :8 

d    :d  If     :r 


8 

Let 


d'  :t 

n  :f 

o'er  the 

8  :8 

8  :8| 


t  :d> 

r  :n 

All  ye 

8  :8 

8  :a 


d'    :r' 
n.8;8 

shore  to 

8     :t 

d.m:i 


.8 

it 

ech  - 

1 

i 

:8 

o 

r 

o'er 
t 

:n 

the 

:di 

.8 

it 

8 

ech  - 

:8 

o 

• 

WAKE  THE  SONG  OF  JUBILEE. 


n 


Gbestkb  O.  AuJDt,  hj  pfldr. 
t 


d 

lee, 
8 

d 


r     :n 

If 

:1 

8     :m 

|r 

: — 

t|    :d 

r 

:f 

m    :d 

It, 

: — 

Let     it 

ech 

-    o 

o'er     the 

sea, 

8     :8 

8 

:8 

8       ^8 

8 

;— 

f     :n 

r 

:t, 

d    ;n 

8 

: — 

If :t 

Bea, 

Ir'     :t 


d' 


/^_ 


m 

Bea; 
8 


d     :r 

Now   is 

m    :8 


in 

come 


d' 


-.f 

the 
-.1 


r' 

:t 

f 

:r 

nn 

•   tiODB 

8 

:8 

8 

:8 

d'    :r> 


n 


8      :8  |8 

join    and  Ring, 

8     :t  jd' 

p)    :8  |d* 


n 


d'    :t 


8     : — 

Rhore, 

d«    :- 
d'    :- 


n 

.Te 

d* 
d 


:s 

nnB 

:d> 
:n 


|1     :r' 
If     :f 

reifn^B  for ' 

|d>    :1 
If    :f 


d' 
d' 

Wake 

d> 
d> 


t.lJB 

tjj8 
the 

t.ljs 

t.l|8 


song 

:n 


n    :r     |d 

promiH'd      hour, 

8     :f      In 


P 

di 


:t 


n    :8 

Christ  is 

d'    :d' 

d    :n    If 


11 
If 

Lord 

Id' 


r' 
f 

nnd 
1 


d'    :t     Id'    :— 


n 

8 


:f      |n    : 

-  er    -  more. 
:s       1 8      I- 


8      :8|      |d     J  — 


8      :-.8  |8 
Woke     the  song 

t*^" 

:       1 
:       1 

:n 

of 

:d' 

8       :-  .8    8 

Wake     the  song 

1 

:8.f  In 

1 

1 
1 

:8.f  In 

-    bi  -  lee, 

:8.f  In 
:8  .f  n 

f 

Je 
1 


n    II 

BOS      reigns 
8        If 


8 

with 

n 


d*    :t 
n    :f 

King  of 

8     :8 
8     :8| 


Id' 


In 

kings 


8      :-.8|8      :8 
All  ye  na  -  tiona 


8     :-.8|8     :• 

All  ye  DA  -  tions 


THIRD  S7RP. 


69 


>ng 


m 

of 

id' 


ing 


B, 


8     :—  I—    :- 

join 

r     :  n  |  f :t 

join    und  sing, 

t     :d'  |r'    !t 

8 

join 


:~   I- 


8 

Je 


:-  .8  |8 

■      •    BQB  is 


8       :-.8|8 
Je    •    •  BUS  is 


f     :8  11      :r"    Id'    :t     |d' 

d    :d  Id     :f    \n    :f     In 

Je  •  BOB  reigns  for- 

1     :8  If     :1 


:8 

Uie 

:m 

the 
:d' 
:s 

the 


f    :n     If     :r 


ev    -  er    -  more 

8     :s      Is 

8     :8|      Id 


inaso. 

d 


n 


d'    itA  1 8     :n 
d'    :tj  1 8     :n 

Let     it        sound  from 

d'    itA  1 8     :pi 
d'    :t  .1  |8     :m 


Now  the        do  •  Bert 


n.r|d 

lands  re    •  joice. 


1      :8  .f  |n    :■ 
1      :s  .f  I  n    : ■ 

shore  to       shore, 

1      :s  .f  I  n    ;- 
1      :8.f|n    :- 


And    the 


ti     Id 


m 

londi' 


gns 


8 

with 

n 


d     |8, 

join    their  voice, 


meuo, 
t, 
Yeo, 


d     |r 

the    whole 

I 

n     Ir 


Yea,     the    whole  ere  - 


:n 

f     : 

ere  - 

a    - 

:d 

1      : 

ere  - 

A      - 

1       : 
m.r   d    ?  — 

tion    sings. 

8  .f   n    :  — 

tion     sings. 

muto. 

1      :t 
f     :f 

Je    •      BQS 

d'    :r' 
-    f     :r 


d'    :r 


m 

is 
8 

n 


:r 

the 

:1 
:f 


n'    :r'  |d' 

8     :f  In 

King  of  kings 

8^:t  Id' 

8     :si  jd 


I' 
1 

ings; 


8 

Now 

8 


-  .8    |8 
the  de 

-  .8    Is 


8 

sert 

8 


r'      :d' 

lands'  re 

f       :n 
8       :— 

lands, 


It 
joice, 

Ir 


;  — 

t 

8       : 

And 

:  — 

8       : 

.8  I  8 
tlie    islands 

.8  is 


r' 

join 
f 


:d'      It 

their     voice, 

:n      Ir 


8       :-     |~ 

join, 

8         :-      I  — 


I     :8 

la  -  tiona 


I     :b 

la  -  tions 


/ 

d' 

:t  .1     8 

:n 

1 

:s  .f 

n 

d' 

;t  .1    8 

:n 

1 

:8  .f 

m 

Yea, 

the    whole 

ere    • 

a    • 

-  tion 

"ings, 

d' 

:t  .1  |8 

:m 

1 

:8  .f 

n 

d' 

:t  .1  |8 

:m 

1 

:8  .f 

m 

t  // 


:8 
:d 

BUI 

:8 


II 
Id 

is 

If 
If 


:r' 
:f 

the 

:1 
:r 


d'  :t 

n  :f 

King  of 

•  :8 

■  :8| 


Id'      !- 
In      I— 

kingiL 

|8       :- 
Id       :~ 


60 


THIBD  STEP. 


The  Metronome  is  an  instrument  for  regulating  the 
rate  of  movement  in  a  piece  of  music.  It  is  a  penaulum  which 
oan  be  made  to  swing  at  various  rates  per  minute.  M.  60 
(Metronome  CO),  in  the  Tonic  Solfa  notation  means,  "Let  the 
fnUaen  of  this  tune  move  at  the  rate  of  60  in  a  minute."  In  the 
«nMe  of  very  quick  six  pulse  measure,  the  metronome  rate  is 
maile  to  correspond,  not  with  pulses,  but  with  half  measures — 
"beating  twice  in  the  measure." 

A  cheap  substitute  for  the  costly  clockwork  metronome  is  a 
iitring  with  a  weight  nttached  to  one  end— a  common  pocket  tape- 
UieoHure  is  the  moHt  convenient.  The  following  table  gives  the 
number  of  inches  of  the  tape  required  for  the  dififerent  rates  of 
movement.  The  number  of  inchcH  here  given  is  not  absolutely 
correct,  but  is  near  enough  for  ordinary  purposes. 


M. 

50.... 

Tape 

56  inches. 

M. 

56.... 

47 

M. 

00.... 

38 

M. 

G6. . . . 

31 

M. 

7J.... 

27 

M. 

76.... 

24 

M. 

80.... 

21 

M. 

88.... 

17 

M. 

96.... 

'^1 

M. 

120. . . . 

Romembering  M.  60.  Just  as  it  is  useful  to  remem- 
ber out"  tMue  in  ii'isoTute  jjitcb,  so  hIho,  is  it  useful  to  remember 
one  rate  of  iiioveiiR'nt.  The  mte  of  M.  GO  is  to  be  fixed  in  the 
mind  as  a  Htandurd;  then  twice  that  speed,  M.  120;  or  a  speed 


half  as  fast  again,  M.  90,  are  easily  conceived.  To  fix  M.  60  in 
the  mind,  the  teacher  will  frequently  aek  the  pupils  to  begin 
TacUainy  at  what  they  consider  to  be  that  rate,  and  then  test 
them  with  the  metronome.  The  recollection  of  rate  of  move- 
Jient  is,  like  the  recollection  of  pitch,  affected  by  temperament 
of  body  or  mood  of  mind.  But  these  difficulties  can  be  con- 
quered, so  that  depression  of  either  kind  shall  not  make  na  aing 
too  slowly. 

Sustaining  the  Bate  of  Movement.  The  powur  of 
sustaining  a  uniform  speed  is  one  of  the  tirst  and  most  import- 
ant musical  elements.  To  cultivate  this  faculty  the  teacher 
requires  the  pupils  to  taatai  on  one  tone  a  simple  measure,  thus: 


TBAA 


:t^a 


TLAA 


;taa 


repeating  it  steadily  six  o*-  eight  times  wiih  the  metronome,  so  as 
to  get  into  the  swinp  He  then  stops  the  metronome  while  they 
continue  taataing  l'>r  several  measures,  then  starts  it  again,  on 
the  first  pulse  of  the  measure,  and  the  class  can  see  immediately 
whether  the  rate  has  been  sustained. 

The  Half-Pulse  Silence  is  indicated  by  the  blank 
space  between  the  dot  (which  divides  the  pulse  into  halves)  and 
the  accent  murk.  It  is  named  SAA  on  the  first  half  of  the 
pulse,  and  SAI  on  the  second  half,  thus: 


I  .1 

SAA     TAi 


:or  11 


SAI 


In  taataing,  the  silent  half  pulses  are  passed,  by  whispering 
the  time  name. 


Ex.  157. 

TAATAI  THASAI 

I  .1  :1  . 

d  .r  :  n  . 
n.r  :d  . 


Ex.  158. 


TAATAI  TaaSA/ 

1  .1  :1  . 

r  .n  :f  . 
f  .m  :r  . 


TAJiSAlTkASAI 

1  .     :1  . 


in. 


:s  . 
:d  . 


TA.A.  SAI- A  A 

1 . 

d. 

B  . 


TAASAlTJUiTAl 

1.    :1  .1 

1 

SAlTAl 

:    .1 

d  .     : n  .r 

d 

:     .r 

n.     :s   .PI 

d 

:     .n 

TAATAI     TAATAI 

TkASAI 

TAAiS 

1  .1   :1  .1 

1  .     . 

1     . 

n  .f    :8  .1 

8   . 

:n  . 

r  .d   :t|  .r 

m. 

:d  . 

r.x  159. 


TAI 

.1 

TAATAI  5^ i 

1  .1   : 

ITAI 

.1 

.8, 

m  .d   : 

.r 

.m 

8  .m  : 

.d 

TAATAI  Silil  TAI 
.1 


1     .1 

f  .r 
n  .d 


.r 
.d 


TAATAI     TAATAI 

tkaJSAIAA 

/ 

1  .1   :1  .1 

1  .    : 

n  .d   :8  .m 

d  .     : 

t|  .d   :r  .m 

f  . 

( 

Ex.  160. 

TAASAI'AA  TAI 


1. 

8  . 

n. 


.1 
.1 
.r 


taaSAI-AAtai 

TAATAI  iSA.ri  TAI 

taaSAItaaSAI 

1.     :    .1 

1  .1   :    .1 

1.     :1  . 

8  .    •:     .n 

f  .n  :     .r 

d.     :t, . 

d .     :     .t, 

r  .d    :     .r 

n .     :d  . 

Ex.  161.     KEY  D.    Round  in  two  parts. 

.d'      :d'      .         It       .t 

Mer  -  ry  May,  |  mer  -  ry 


lid      .d 

\  I  Mer  -  ry 


:d 

May, 


I' 


.r 

mer  -  ry 


:t 

May, 

:r 

May, 


d'      .t 

How      I 

n 

Yea, 


:1 

love 

:m 
yes. 


.8 

the 


1 

mer 

f 

mer 


.t 

-  ry 

.f 


:d< 

May. 

:n 

May. 


Ex.  162.    KRY  F.    Round  in  four  parts. 

:    .d  Im.d  :    .mis  .m:    .b  11 


II 


Stiys  I  William      to   Ju-lia,        I   |iive 

8  .m  :    .d  Im.d  :    .d  Id       :d  .d  |d 

Ju-lia  to     William,       tialtme,  though  in  rhyme. 


:d.d|d      : 


Bays) 


« 

:1  .1  |8      :    .m|g       :s  .8  |8      :8  .8  Id 

on  your  smiles,   Your|  prea-  once  a  -  lone      oil  my|  sor  -  rowa  be-gnilM; 

.did       :d  .d  Id       :d  .d  |f|  .8|  :l|_Jt)  |d  . 

You  I  live        ra  -  ry    cheap      at  thialve-ry     dear       time. 


fix  M.  60  in 
ila  to  begin 
d  then  test 
te  of  move- 
smpemment 
^n  be  con- 
lake  us  sing 

Tie  powor  of 
aost  import- 
the  teacher 
3asure,  thus: 


onome,  bo  as 

e  while  they 

it  again,  on 

immediately 


y  the  blank 

)  halves)  and 

half  of  the 


f  whispering 

8AnJLA8AI\\ 

•             • 

1    . 

• 

m . 

•              * 

d  . 

kSAlTAkSAll 

t 

:1  . 

• 

:t,. 

• 

:d. 

:d 

.d 

:si 

.8, 

speech  suf  •  | 

nev 

-  er 

may 

the 

:m 

.n 

:d 

.d 

KR  6.    M.  96. 

d 

1.  Short 

2.  Time 

3.  Deep 

n 
d 

r    .d     :1| 

8|    .  pii    :1| 

wis  •  dom  say, 
mits  it,  say 
lit  -  tie      words, 

t|    .  d     :  d 

8,    .1,     :f, 


:1    .8 
:d   .d 

dull  t.ad 

can    yon 

would  fore- 

:f   .m 
:d  .d 


KET  D. 

PI     :m.m  I  rn 
d      :d.d|d 

1.  God  is     the  ref 

2.  Here  is     a      stream    whose 

3.  That  sa  -  cred  Rtream    thine 

8       :s  .8  I  8       :-  .8 
d      :d .d Id       :-  .m 


d    .d 

8|      .8| 
fi  -  ces 
lin  -  gers, 
im  -  port 

PI     .  PI 

d    .d 


THIBD  STEP. 
YES,  OB   NO. 


61 


.8) 

.8, 
deep 
moves 
for 

.8| 
.8, 


8| 

thought 

nev 

joy 

8| 

PI, 


:pi 

:8| 

to 
er 
or 

:d 
:d, 


8| 

show, 
slow, 
woe, 

t, 

8| 


r            : 

.t, 

d 

8 

:1 

.8 

8 

li            : 

.8, 

8i            : 

d 

:d 

.d 

d 

Yes, 

or 

No. 

Save 

me 

from 

speech 

Yes, 

or 

No. 

If 

he 

c»   - 

capes 

Yes, 

or 

No. 

But 

if 

the 

utt'r 

f             : 

.r 

n            : 

PI 

:f 

.n 

PI 

ri            : 

.8, 

d,            : 

d 

:d 

.d 

d 

8          : 

n 

':f    .n 

r   .d    :1| 

r 

• 

•            • 

t, 

d 

d          : 

8| 

:8|    .S| 

8|  .Pii  :1| 

1, 

• 

•       •    • 

8| 

S| 

slow. 

Oh, 

how  much 

bet  -  ter     plain 

Yes, 

or 

No 

know 

If 

you  a   - 

gain  may  say. 

Yes, 

or 

No 

go 

Eyes, 

ev  •  en 

eyes  may  say. 

Yes, 

or 

No 

PI          : 

d 

:r    .d 

t|  .d    :d 

f 

• 

•            • 

r 

PI 

d 

• 
• 

d 

:t|   .d 

8,  .1,    :f, 

ri 

• 

•            • 

S| 

d 

Db.  L.  Mason. 

PI  :f     .PI 

8| 

^Vhen 
While 
Be 

d 
d 

:n 
:d 

es, 

you, 

ance 

:d 
:d 


MALVERN.     L.  M. 


:-  .PI 

:-  .d 

uge 


pi.r  ;pi.f  |8 
d  .t|  :d  .r 


of 


his 
tie 
l.v 

8       :8 
8  .f  :pi  .r 


Ken 
ho 


In 

saiDts, 

flow 

word 

8 

Id 


-  .8 

1       :1 

-  .  n 

f       :f 

When 

storms  of 

Slip  - 

plies      the 

Onr 

«rief     al 

-.d' 

d'      :d' 

-.d 

d       :d 

|8 

I  PI 

sharp 
cit  - 
lays, 

|d> 
Id 


:-  .PI 
:-  .d 

dis- 

-   y 

our 

:-  .8 
:-  .d 


Dr.  Lowku.  Mason. 

f  .8  :pi  .f  jr       :— 


r  .PI  :d  .r 


tress 

of 

fear 

S 


in 

our 

con 

:s 

:si 


It, 

vade; 
God, 
trols, 

18 

I  8, 


:    .■  I 

m;      Sayi) 

t,  Id.      II 
r       time.    U 


PI     :m.n|  PI  :-  .pi 

d      :d.d|d  :- .d 

Ere      we   can  off  -        er 

Life,    love  and  joy,  still 
Sweet  peace  thy  prom    -    is  • 

8       :s  .8  js  :-  .8 

d      :d  .d  |d  :-  .m 


pi.r  ;m.f  Is 
d.t,  ;d  .r 

our       com    - 
glid  -  ing 
es  af     - 

8       :8 

8  .f  :pi.r 


s        :- 

.8 

n       :- 

.n 

])laints, 

Be- 

through, 

And 

ford 

And 

8       :- 

.d' 

d       :- 

.d 

1  :1 

f  :f 

hold  him 
water  -  ing 

give  new 

d'  :d' 

f  :f 


8 

• 

.PI 

n 

• 
• 

.d 

pres 

- 

ent 

our 

di- 

strength 

to 

d> 

• 

.8 

d 

• 

• 

.m 

r  .m;f  .8  |  pi       :— 
t,  .d  :r  .PI  |d       :— 

with      his         aid. 
vine      a     -      bode, 
faint  -  ing        souls. 

8         :8         |8  :  — 

8       :8,      Id       :  — 


62 

ththi)  step. 

• 

. 

KEY  G 

•  s, 

S|    .d 

:d     .m 

n 

.r 

SPEAK  KINDLY. 

:r     .r       m    .f     :8     .f 

PI 

:r 

T.  F.  Sbwabp.               1 
D.C.        1 

d           :-     ,     1 

TAi 

1 

d 

|.m, 

y,|8pcak 

Ld 

kind-ly 
thou-Bond 
kind-ly 
hnpa  Bome 

d    .d 

:mi   .8| 

to        thy 
cares  his 
to        thy 
gen  •  tie 

:d    .d 

S|      .8| 
fel  -  low 
hearten  - 
fel  -  low 
word  of 

d    .t, 

:8|    .8| 

man,    He 
twino,  Al  - 
man.    It 
thine   May 

:t,    .t, 

S|      .8|       :8|      .1| 
may  have    griefs  thou 
though  he    shows  a 
may  the      rich  -  est 
soothe  a       troub  -  led, 

d    .r     :m    .r 

8,            :f, 

canst            not 
Hmile            to 
good            im 
ach     -     -    ing 

d            :t, 

- 

n, 

see,     ( 
thee.  ^ 
part;   , 
heiirt. 

d 

•  _           1 

•  1 

^ 

d 

1 

.d 

d    .d 

:d    .d 

S| 

.8, 

:si    .f| 

pii  ,T\     :d|    .f| 

S| 

:8| 

d, 

• 

' 

.d 

^  Speak 

t,     .r 

kind      - 

:8|     .8| 

-     ly,        speak 

d 

kind 

.n      :d     .d 

-     -      ly,        speak 

t|     .r 

kind  -  ly 

:S| 

to 

.8, 

thy 

d 

fel 

.PI      :d 

-   low       man, 

.8, 
He        1 

1 

.S|         :8|        .S| 
Speak   kind  -  ly, 

.f      :f      .f 

.8|        :8|        .8| 
speak    kind  -  ly, 

•  PI      :  n     .  n 

S|        .S| 
kind  -  ly 

f        .f 

:8| 

to 

:f 

.8, 
thy 

.f 

S| 
fel 

PI 

.8|        :S| 
-    low        man, 

.PI      :pi 

.8,         / 
He       ; 

.PI        \ 

I 

\ 

.8| 

:S|     .8, 

.d      :d      .d 

S|        .S| 

:8| 

.S| 

d 

.d      :d 

.d         / 

1 

K 

S|    .  d      :  d 

.n 

n    .r 

:r 

.r 

• 
n    .f      :s      .f 

PI 

11 

► 

"•■  " 

d 

:- 

. 

] 

1  8|    .nil    :mi 

may  have    griefs 

.8| 
thoa 

8|      .8| 
const  not 

:8| 

see 

.8| 
,      Al    . 

8|     .8|       :S|      .1, 
though  he     shows  a 

8| 

smile 

to 

pii 

the«. 

• 

n    .d     :d 

.d 

d    .t, 

:t, 

.t, 

d    .r      :n     .r 

d 

:t, 

d 

•  — 

• 

1 

' 

d    .d     :d 

.d 

8|      .8, 

:si 

.f| 

pii  •  Fj     :  d|     .  f| 

8| 

:8| 

d, 

• 

• 

A  pnlse  divided  into  two  quorterp 
tafiaii.    It  is  indicated  thus: 

and  1 

k  half;  is  named 

11     . 

TAA. 

tef'e 

• 
• 

1 

1 

A  hnlf  nnd  two 
Indicated  thas: 

11  ,1  .1 

tafa        vu 
quarter*  are  v»m\ 

■ 

id   TAA 

-tefe.     They  are 

A  pulse  divided 
quarter,  is  named  taa 
dose  after  a  dot,  thus 

into  a  three-quarter  pnlse  tone  and  a    1 
-efe.    It  is  indicated  by  a  comma  placed     ■ 

11         .,1    :     ^                               1 

rtx-—     efe.        *                                    ■ 

< 

Ex.  163. 

1 

\l 

ttX                           tkJk. 

thi 
.1 

ta-fa 
1,1 

TAX 
.1 

ta-fa     TAX 

:1  ,1   .1 

ta-fn  -  te-fe      taa 

1  ,1  .1  ,1   :1       , 

TAX 

1 

TAA 

1 

BAA 

\ 

'i 

t 

i          m 

•  I 

in,r 

.d 

:n  ,r    .d 

d  ,r  .n  ,f    :8 

.n 

d 

■    ■  ,1^ 

1  • 

Ex.  164. 

^    »f  .■     ^ 

»  ,f 

.n 

:f  ,n   .r 

n,r  .d  ,t,    :d 

.8 

d 

t 

{ 

1 

8 

I 

1              x\ 

TAX 
.1 

T4A 

1 

te-fe 
.1    ,1 

TAA           TU 

:1       .1 

TAA        te-fe      T&A 

1      .1  ,1   :1 

TAI 
.1 

TAA 

1 

TAX            TAA 

.1        :1 

8Ar 

• 

I 

c 

ft 

d           It 

*r 

n 

•r  ,ni 

:f        .n 

r       .d  ,r    ;m 

< 

r 

d 

.t,         :d 

• 

< 

u              ti 

.n 

d 

.r  .d 

:t,        .d 

r       .n,r    :d 

I 

t. 

d 

.n        :• 

. 

■ 

iSWABO. 


D.  C. 


•  ^ 


in, 


in, 


.8, 
He 

.S| 
He 

.m 
.d 


•  ^ 


•  ^ 


B  tone  luid  a 
Bomiua  placed 


L^ 


8At 


TUiuD  STEP. 


63 


Ex.  165. 

TAA  te  -  fe       TAA 

1  .1  ,1  :1 
d  .r  ,n  :f 
d       .PI  ,r    :d 


te-  fe 
.1    ,1 
.PI  ,f 
.r   ,pi 


TAA 
1 

8 
f 


■    efe  TAA 

.,1   :1 

.,1    :s 
.,Pl  :f 


efe 
.,1 
.,1 


II 
{I 

II 

II 
II 
II 

II 
II 


Ex.  166.    Key  F.    Bound  in  four  parts. 

d      .r       :n      .r       Id      .t| 

All        to     -     geth  -  er         I  let         ua 


8  ,8    .8 

Geutlo-men, 


•  S  fS    • s 

gentle -men, 


8  ,8   .8 

I  gentle -men. 


Ex.  167.    KEY  F.    Hound  in  four  part8. 

:  d      .  d  ,r  I  m      .  m 

come     to  the  I  King  -  ing 


d 

Come, 

* 

PI 
Come, 

8 

There 


:8 

oome, 


.8 

we'll 


d     .d  ,r  :n     .n  ,f 

La        la    la     la  la    la 

Ex.  168.    KBT  F.    Bonnd  in  four  parts 


i 

come, 

n 

Ring 

8 

la 


:d 

sing, 

:8 

sing, 

:d      .d 

school,   Let 


.n 

the 


TAA 
1 

8 

1 

* 

n 

We 

d 

Sing, 


'   efe  TAA 

,,1  :1 

.,f  :pi 

.,8  :f 


TAX 
.1 

TAA 

I 

.r 

d 

.r 

d 

.f 

wiU 


r 

no 


.r 

one 


:8       .f 

make     the 

sing, 

• 

fitny        a 


PI 

wel 

8| 
la    . 


.r 

kin 

.8, 
dies. 


8AA 
t 

: 
: 


ring; 

:d 

sing. 


.} 


.1    ,8 

la   la. 


8|        .S|  ,8|  :S|         .S| 
Come   to  the  sing  -    ing 

f       .f        :f       .f 


n 

la 


.PI  ,f 

la    la 


d 

Sound 

8 

Tra 


mF  :pi 

the  strain 

.,f  :pi 

la     la 


a  - 1  giiin, 


.,f 
la 


8 

la 


la 


la 


la, 


mer 

8 

la 


« 
PI 
O    . 

ni 

Tni 


.f 


mor 

:r 

la 


.t, 
la 


d 

way; 

d 

Bchool. 

n 

round. 

d 

1(1. 


.,f  :8 

ver  sea 

.,r   :d 

la       lii 


.,f     I  PI 

and  I  main. 

.,r  in 

la      la 


la 


:d 

la 


.,t| 
la. 


8||d       :-.d 


( 


KXV  A. 

d      :8|  .,B| 

pii     :  pi|.,pi||pi|  :-.pi| 

I.  Light  of    the  soul,  O 

•2.  Son    of    the  Fa    -    -   ther, 
3.  Je  -    BUS  is    from  the 

d      :d.,d|d  :-.d 

d      :d.,d|d  :-.d 

r       :t|.,d|r  :-.pi 

8|       :8|.,8||8|  :-.S| 

DnrknesH    and  guilt  aro 

Come    in    thy  hid  -    -  den 
Through  him  unto  the 

t|      :8|.,li|t|  :-.d 

8|      :8|.,s,!8|  :-.8| 


ANTWERP.    L.  M. 


:f| 


r 
fi 

Sav  -  iour 
Lord  most 
proud  con 

t|      :r 

s,      :si 


I  PI, 

blest ! 
high: 
cealed, 

Id 
Id. 


8| 

put 
maj 
Fa    - 


:pi    .fir 


:8| 

to 
ther 

r.pi  ;d    .r 

8|      :8| 


|S| 
flight. 

ty. 

bo 

|t| 
I  8, 


Pl 

:d  .,r  1  m 

:-.n 

f 

:n 

8| 

:m|.,f|  S| 

:-  .8| 

8| 

:8| 

Soon 

as    thy  pres 

encp 

fills 

the 

How 

glad  is    he 

who 

feels 

thee 

But 

ev  -  er  -  more 

to 

1. lilies   re 

d 

:S|  .,St  d 

:-.d 

r 

:d 

Id, 

:di.,d|  di 

:-.d 

ti 

:d 

n  .r 

:f  .PI  8  .f 

:n  .r 

d 

:t, 

8,  .f, 

:li  .S|   S| 

:8,  .1, 

8| 

:fi 

All 

then  is  sweet 

-  ness 

and 

de 

Fill 

us    with  love, 

fill 

us 

with 

Glo  - 

ry    and  praise 

<>    -    - 

ter    - 

uol 

d 

:d  .d  |pi  .r 

:8  .f 

n 

:r 

d, 

:d|  .d|  d{  .Ti 

:n|.f| 

8| 

:s, 

T.  F.  SSWABD. 

|r       :- 
|8|      :  — 

breast, 

nigh; 

vealed, 

It,       :- 
|8,      :  — 


I  PI, 

light, 
thee. 

ly- 
In 

d, 


64  THIBD  STEP. 

OH!   THE  SFOBTS  OF  CHILDHOOD. 

SBT  C.     Smoothly ;  in  sviinging  style.     M.  104. 


n    .,f  :n    .,r 

I.  Oh,  theRports  of 
'I.  Swaying  in        the 
:J.  Oh,  the  Bports  of 

d'  .,d':d'  .,d 
d  .,d  :d  .,d 


d' 
n 

Hap  - 
Hap  . 
Hap  - 

d' 
d 


:1 

:f 

py 
py 
py 
id' 

:d 


Md' 
..f 

and 
and 
and 

.,1 
.,d 


r'  .,d':t   .,1 
f  .,f  :f  .,f 

Swinging  *neath  the 
Swinging  'neath  the 
Swinging  'neath  the 

s     .,1  :t     .,d' 


,s  :s 


s        :d> 
n       :n 

Swing  -  ing, 
Swing     - 

d'       :— 


.8 


m 
d 

child 

sun 

child 

d' 
d 


s 
m 

free; 

free; 
free; 

d< 
d 


s 
f 

old 
old 
old 

r> 
s 


:di 
:n 

hood! 

beams, 

hood! 


:d 


18 
swing 

ing. 

|8 

id 


p 


:di 
:n 

ing. 


:s     .,f 


:t 

.,r' 

:f 

Mf 

ap 

-  pie 

ap 

-  pie 

ap 

-  pie 

:r' 

.,t 

:s 

.,S 

s    .,1  :s     .,t  I  n 

m    .,f  :  n    .,r  |  d 

Roaming  thro'  the  wild 
Floating  in  the  shad 
Roaming  thro'  the  wild 

d'    .,di:d'    .,d'|d' 
d    .,d  :d    .,d  |  d 

s     .,1  :s     'if  i  n 
n    .,f  :  n    .,r  •  d 

How   my  heart's  a    beat 
Chas-ing    all    oar    sad 
But     my  heart's  a     beat 

d'    .,d':d'    .,d'|d' 
d     .,d  :d     .,d|d 

d»         :—        I— 
n         :—        I — 

tree, 
tree, 
tree. 

d'         :—        I— 
d  :-         I- 


r'   .,d':t    .,1 
f    .,f:f    .,f 

Lull -ing  care 
Swing  -  ing 

t        :r' 
8        :8 


s 
f 

to  rest 
'neath 

It 

|8 


:t   .,r' 
:f   .,f 

'neath  the 
the 

:t 
:8 


:di 
:m 

wood, 

ow, 

wood, 

:8 
:d 


:di 
:m 

ing. 

ness, 

ing, 

:s 
:d 


d> 
n 

old 
old 

d> 
d 


0.  B.  Babbot 

r'   .,d':t 

.,1    |8             IT* 

f    .,f  :f 

.,f    f          :f 

Kun-ning  o'er 

the   mead   -   ows, 

Sail  -  ing  on 

the    breez   -   es. 

Sing  -  ing  o'er 

the    mead    -   ows, 

t    .,d'  :r' 

.,d'|t          :t 

8    .,8  :s 

.,8  1  8            :8 

8     .,1  :8 
n    .,f  :rn 

Thinkiug  of 
Shout-ing  in 
For     the  old 

d'  .,d':d' 
d    .,d  :d 

Choiu.h. 

8         :di 

n        :n 

Swing  -   ing, 
Swing 

d'        :— 
d        :  — 


..f 


thP 


d 

greet 
oar   glad 
time  greet 

Md'ld' 
Md|d 


|pj' 

|8 
swing 


:1 
:f 

ap 
ap 

:d> 
:d 


.,d'l8 
.,f  In 

.  pie  tree, 
.  pie  tree. 

.,1  1  d' 
..did 


mg. 
8 

d 


8 


:d' 
:n 

ing, 
ness 
ing, 

:8 
:d 


:di 

ing, 


:d< 


m       :m 

Swing  -  ing, 
Swing     - 

d'       :- 
d        :— 


m 


:d' 


1 8        :n 

swing-  ing, 
ing, 
I  8  !  — 

Id        :- 


8 

n 

Swing 
Swing 

d> 
d 


:d> 

ing, 


n' 

!8 


:di 
:n 


swing  •  ing, 
ing. 

|8        :- 
d        :  — 


r'  .,d':t    .,1 1  8  :t   .,r' 

f   .,f  :f    .,f|f  :f  Mf 

Swinging 'neath  the  old  ap  -  pie 

Swinging 'neath  the  old  ap  -  pin 

8    .,1  :t    .,d'!r«  :r'  .,t 

8      (fSiS      (iBiB  •8     •)B 


d'  :~ 

n  :— 

tree, 
tree. 

d'  ?- 

d  :~ 


1- 


THIRD  STEP. 


iya 


B.L. 

EST  G. 


8| 


.m     :pi  .,f 

.d     :d  .,d 

1.  Who  80    fnll  of 

2.  Rome  will  choose  the 

3.  When  the  boys,  to 

m    .8     :s  .,1 

d    .d     :d  ..d 


PI 
d 

fnu 
tor 


.r 

.t, 


:r 

:t| 


make  her 
8       .8 
d      .8| 


and    glee, 
toiHe  shell, 
run, 

:s 


:s, 


THE  OLD   BLACK  OAT. 


8| 
8| 


.r 

•  t, 


Hap-py 
0  •  therg 
Call  the 

8      .8 


:r 

:t, 

08 

love 
dogs 


8|      .S|      :8| 


.,P1 

.,d 

a 

the 
and 

.,8 

.,8| 


r    .d 

t,    .d 

cat  can 
white  so 
set    them 

f      .PI 

S|    .d 


:d 
:d 

be? 
well, 
on, 

:pi 
:d 


B.  LowBT,  by  per. 


8|    .PI     :pi 

.,f 

8|    .d     :d 

.4 

Pol  -  ished  sides 

HO 

Let  them  choose 

of 

Quick-ly        I 

pat 

m    .8     :8 

.,1 

d    .d     :d 

.4 

•  r 

.t, 


PI 
d 

nice  and 
this    or 
on      my 

8       .8 

d 


:r 

:t, 

fat- 
that, 
hat, 

:s 


8,     :s, 


.,t| 

Oh. 
But 
And 

.,8 

.,S| 


S|      .t| 


8,      , 

how 
give 

Hy 

8 


I 

S| 
I 

to 
to 

8 


:r 

:t, 

love 

me 

save 


S|      .  S|     ■ :  S| 


.,PI 

.,d 

the 
the 
the 

.,8 
.,S( 


r 

ti 


.d     :d 
.d     :d 

old  black  cat. 
old  black  cat. 
old  black    cat. 

f    .m    :pi 
St   .  di    :  d| 


Pityingly. 
PI 


Poor 


jj2 'J 


PI      .8 

d    .PI 

kit  -  tyl 


I    •  t|   s  ti    .  r 
r   .8|   :8|    .f| 


0, 


poor 


T    .d    : 
fi    .Pi|  :■ 

hU  -  tyt 


PI 

d 

su 


:r    .d 

:t|  .1, 

ting 


t 


ao 


I     .1   :- 
1,     .d  :- 

CO  -   My, 

9 
I 


8      .ti    St|      .)t| 

t|    .Si    S8|      .,f| 
Close         by     the 


I 


Pl| 
fire. 


Briskly. 

S|    .PI    :pi 

Mf 

PI    .r 

:r 

.8, 

8|    .r 

:r 

.,pi 

r     .d 

:d 

.8| 

8|      .  PI 

:m 

.(PI 

8|    .d     :d 

Pleasant,     pur 

..d 

■  ring, 

d    .t, 

pret -  ty 

pus 

.8, 
-    Hy, 

8|      .t| 
Frisk-y, 

full 

of 

t,    .d 

fun,  and 

fas 

.8, 
-  sy. 

S|    .d 

Mor-tal 

:d 

foe 

.,d 

of 

PI    .8     :b 

.,8 

8       .8 

:8 

.8 

8      .8 

:8 

.,8 

f      .PI 

:pi 

.PI 

PI     .8 

:8 

.,8 

d    .d     :d 

.,d 

d      .8| 

:8, 

.8| 

8|     .8| 

:8, 

.,S| 

8|    .d 

:d 

.d 

d    .d 

:d 

.,d 

f     .1     :1 

8 

.,t|  :t| 

M? 

r    .d     :d 

n 

:r 

d 

d    .d     :d 

mouse  and  rat,  - 

1     .f     :f 

t, 
0, 

r 

.,8|   S8| 
1     love 

.,r  :r 

the 

ti    .  d     :d 

old    black  cat, 

f    .PI     :pi 

d 

Yes, 
8 

it, 

I 

:f 

d 

do 
PI 

f|     .fi     :f. 

8| 

.,8,  :i| 

•»■] 

8|    .di    :di 

d 

:«! 

d. 

«6 


XHUID  STEP. 


A.  S.  Ejtnma. 

KIT  G-    M.  72. 

d      :d  .,r  m 

:8 

d      :m  .,n  r 

8|      :8|  .,8,  d 

:d 

8|      :d  .,d|t| 

I.  Twi  .  Ught  ia   steal 

-  ing 

Ov    -    er    the  sea. 

2.  Voi  -  ces    of  loved 

ones, 

Songs   of    the  past. 

3.  Ck)me  in     the  twi    • 

.   light, 

Gome,  come  to  me. 

m      :m  .,f  8 

:m 

m        :S    .,8|8 

d      :d  .,d  d 

rd 

d      :d  .,d|8| 

d      :d  .,r  n 

:8 

d      :m  .,n  r 

8,        18,  .,8,1  d 

:d 

8|      :d  .,d  t| 

Borne  on    the  night 

winds. 

Voi   -   ces  of    yore 

Lone  -  ly    I      wan  ■ 

■  der. 

Sad   -  ly    I     roam, 

Cheer -ing  my  path 

-  way. 

■Willie  here  I     roam, 

m      :m  .,f  8 

:m 

n      :8  .,8  8 

d      :d  .,d  d 

:d 

d       :d  .,d  8| 

8        :8        |n 

:-  .8 

1  .8  :8  .n|r 

d       :d        d 

:-.d 

d.d  :d  .d   t| 

Far       »      -      way 

be. 

yond  the  star-lit  skies. 

PI       :m      |8 

.-  .pi 

f  .m  :in.8    s 

d       :d        d 

:-.d 

d.d  :d  .d    8| 

d      :d  .^T  m 

:8 

d       :n.,m  r 

8,      :8|  .,8,  d 

:d 

S|       :d  .,d  t| 

Gleam -eth  a    man 

-   sion 

filled    with  de-  light, 

n      :m  .,f  8 

:m 

n      :8  .,8  8 

d      :d  .,d|d 

:d 

d       :d  .,d  8| 

TWILIGHT  IS  STEALING. 


B.  C.  Umbsld. 


t|      :t|  .,d  r 

f 

8|      :8|.,l,|t| 

t, 

Shad  -  ows  are  fall   - 

ing 

Still      lin  -  ger  ronnd 

me 

Bring -ing  some  mes  • 

•  sage 

r       :r  .,m  f 

:r 

S|       :8|  .,8||  8|      :8| 


t|      :t|  .,d|r 
8i       :8|.,l||t| 

Ckime  from  the  far 
Seek  •  ing  that  far 
Seek  -  ing    that  for 

r       :r  .,n|f 

8|         :8|.,8||8| 


r       :r 

t|      :t| 

>Vhore  the 


8 


:s 

:si 


|8 

It, 
love 

Ir 
Is, 


:tn 

d 

:t, 

d 

off 

shore. 

off 

home. 

off 

home. 

:8 

n 

:si 

d 

f  :m  .,r|n 

r  :d  .,t||d 

Dark  on    the    lea; 

\Vhile  life  shall  lost; 

Ov   -  er    the    sea. 

8  :8    .,8|8 

S|  :8|  .(Slid 


!-     I-     :~ 


•.r 
-.t, 

light 
-.8 
.8| 


t|      :t|.,d|r      :m 
s,      :8|.,l||t|      :t| 

Sweet,  hap  -  py  home    so 

r       :r.,nlf      :8 

S|       :S|.,8||8|      :8| 


d 

bright. 

n      : 
d 


|2. 

n 


!  |—       !  — 


f  .m  :m.r  |d 
r  .d  :d  .t||d 

nev-er,  nov-er   dies, 

8  .8  :8  .f I m 
8.8  :8  .8  Id 


'-  I- 


KKT  A.    Round  in  two  ports. 


\ 


:8|     8|  :1|   :t|     d  :— 

* 

:m     8   :8 

:f 

Up,      up    and    a  -    way. 

Why    longer 

de 

|m  :—  :d.d|t|  :1|   :t|  Id  : 

I  Uiy,  When  the|  birds  and  the  |  blosa 


d   :m 

blossoms  are 


8    : 

caU 


Im  :~  ) 

ling?        I 


jti,  .8.18,  :1,   :t,  Id  :—  :n.n|f  :f   :f    In  :—  :n.n|r   :t|  :8,  |8,  is,  :s,  If,  :—  :—  Im,  :—  H 

i  tnm  lk|  dwoUugH  of   I  men    To  their)  homes  in  the    I  glen.     Let  ai>|  haste  ere  the  I  shadows  are    |  fnU    •    .    .     |  ing.  | 


THIRD  STEP. 


67 


0. 

:d'.,r' 
:n.,f 

l.Tothf 
)  2.  To  the 

•S    vyB 

:d  .,d 


TO  THE  MOUNTAIN. 


d*      :8 
PI      :m 

moantain, 
moontain, 

8       :di 
d      :d 


:8  .,1 
:in.,f 

to  the 
to  the 

:d'.,d' 
:d.,d 


8       :m 

m      :d 

mooDtoin, 
mountain, 

d>      :8 
d      :d 


:d.,d 

To  the 
To  the 

•  8  t)8 

:d  .,d 


r  .n  ;f  .8    :1  .8 
t|^  :rj]i  ;f  .pi 

a     - 
a     • 

:8 
s       :  8       : 8 


monn 
moon 

s       :s 


tain 
tain 


PI 


(O. 


«n 


:d 


way, 
woy. 

S 

d 


:8 

.8 

:n 

.m 

Let 

us 

Let 

ns 

:d' 

.d' 

:d 

.d 

J.  R  Tcmnct. 

1       :1  .t  :dM 
f       :f  .8  :1   .f 

hoate  for  the  mom  it( 
haste  for  tho  morning  { 

d'      :di.d':d'.d' 
f       :f  .f  :f  .f 


8       :n 

PI      :d 

bright  in 
zeph  •  yiB 

d'      :8 
d      :d 


:8 
:pi 

the 
ore 

:d> 
:d 


:1 
:f 


sans    ear 
Rcorch'd  by 

d'      :r' 
f       :r 


:t 
:f 

liost 
the 

:r' 
:8 


d'      :—      :d' 


PI 

ray. 
clay. 

d' 
d 


:pi 

And 
And 

:d> 
:d 


r'      :t  .d'  :r'  .t 
f       :r  .PI  :f  .r 

hark  1  'tis  the     merry 
come,  follow,     as    the 

w  !  8  .8     '8.8 

8  :8|.8|    :8|    .8| 


d> 


:8 


PI 

:n 

ban  - 

tor 

deer 

leaps 

8 

:d' 

d 

:d 

f      :r  .n  :f  .r 
r      :t|.d  :r  .t| 

horn  fara-wft       we 
sleep  in  his  shady 

8|        :8|.8|  8|    .S| 


m 

d     :- 

hear, 
bed, 

8      :  — 

d     :  — 


—    :8 


:n 

Then 
A    ■  • 

:di 
:d 


1       :l.t  :d'.l 
f      :f  .8  :1  .f 

come,  hasten  to  the 
waked  by  thehunterV 

d'     :d'.d':d'.d 
f      :f.f  :f  .f 


8      :pi 

PI      :d 

mountain, 
horn, 

d>     :s 
d     :d 


:8 
:n 

The 
Who  t'en 

:d< 
:d 


l.r':d' 
f  .f  :n 


:t 


:r 

flummit  now    is 
now  has  pa  4t    him 

d'.l  :8       :8 
f  .f  :8       :8i 


d'     :  — 

PI      :  — 

near, 
ded. 

8      :  — 
d      :— 


XKT  F. 

:d 
:d 

il.Am 
(2.  Mast 
/3.  Sure 

:n 
:d 


ARLINGTON.    C.  M. 


PI 

d 
I 
I 
I 


.,PI 

Md 

a 
be 


:d 

sol    - 
car    - 
mnst  fight 

1.8  •  .  8 


d  .,d  :d 


:r 

:t, 

dier 

ried 

if 

:f 

:si 


.,d  :d 
.,li  :1, 

the  cross 
the  skies 
would  reign, 

.,pi  :m 
m1i   :1i 


it, 

A 

On 

In 

:s 
:s, 


PI    .8  :f 
d    .d  :t| 

follower    of 
fiowery     beds 
crease  my  cour 

s     .PI  :f 
d    .m  :r 


:d 

the 
of 

:s 
:d 


Do.  ASNB. 

PI        :r 


:t, 


lamb 

eoite, 

Lord, 

i  :  — 

8,         :  — 


^  And 
\  While 

iru 

=• 


m  .,pi  :pi  :1 

d  .fd  :d  :d 

shall  I      fear  to 

oth  -  era  foasfht  to 

bear  the  toil,  en 

B      •yB      .8  .1 

d  .,d  :d  :f| 


s    .,8  :s  :d 

d   .,d  :d  :S| 

own  his  cnnse,  ( >. 

win  the  prize.  And 

dure  the  pain.  Sup 

PI  .,pi  : PI  :8 

d  .,d  :d  :ni 


r    .f    :m  :r 

li    .r    :d  :t| 

bluRh  to  K])eak  his 

sailed  thro'  blood  -  y 

port-ed      by  thy 

f    .1    :8  :f 

fi    .ri   :8|  :8| 


d 
d 

name? 

Rens. 

word. 

n 
d 


;= 


68 


TUIKD  BTKB, 


or  C.    M.  104 

f 

I      :n  .,r|d  :m 

8      :n  .,r|d  :m 

Load  thro'  the  world  pro 

8       :n  .,r|d  :m 

8      :m  M^ld  :n 


LOUD  THROUGH  THE  WOBLD  PROCLAIM. 


f 

8       .-I-  :di 

8       :—  •  I—  :n 

claim  Je 

8         : —      |—  :8 

8       :—     I—  :d 


t  :r' 

r  :f 

ho  -    vah's 

8  :8 

8  :8 


d< 

:t 

d' 

:d< 

n 

:r 

m 

:n 

high 

■  est 

proi 

-    868, 

8 

:8 

8 

:8 

8 

:8 

d 

:d 

0.  HuMmia. 

I         :> 
I         :n 

Je 


\ 


8     :d<    It     :1 
n    :n    |8     :f 

ho  -  vah's  high  -  t^st 


r 

f 

:f 

ti 

• 

r 

:r 

an 

- 

gelB 

a 

f    :  — 
1     :  — 

pmi 


d'    :- 

t     :— 

d>    :d> 

n    :— 

r     :— 

n    :n 

high     - 

est 

prai  -  868 

8     :— 

|8     :~ 

8     :8 

8     : — 

|8,    :- 

d     :d 

n 
d 

dore 


i 
n'    :r' 

8     :f 

868,        Je  - 


8     :m 
m    :d 

Bow  •  ing 


d' 
n 

ho 


m 
d 

low 


:n' 
:8 

■  vah'B 


r'    :t 
f     :r 

high  •  est 


8     :m 

m     :d 

Bow-  ing 


f     :1 
r     :f 

at        his 


d< 
n 

prai 


PI 

d 

low 


8     : — 
n    :— 

throne, 


Id' 
In 

B6S, 

I 
I 


If 

|r 

at 


:8 
:m 

Je 

:d' 
:d 


:1 
:f 

his 


1 8     :8 
I  m    :n 

with    the 


1 

f 

ho 

d' 

f 


|r' 
If     ' 

Tah'a 

II      : 
If     : 


8     :—   |8     :n 

n     : —   jn    :d 

throne,  with    the 


1 

f 

an 


It 

:t 

f 

:f 

gels 

a 

^    i 


d'      :- 

1- 

• 

n'     :- 

n'     :  — 

f 

rf'.f  r'      rr'.r' 

d'      :~    Id' 

•f         ) 

dore; 

For 

he 

liv 

-    eth  and  reign  -  eth  for- 

ev        -        -      er 

anu 

n      :— 

— 

• 

8        :- 

-          8        !  — 

I 

:1   .1    8       :s  .8 

m      :f.8    1 

:1   .1 

For 

he 

liv 

-    eth  and  reign  -  eth  for- 

ev    -    er  for  -  ev 

■     er  andl 

1 

« 
• 

d'      :- 

-      Id'     :- 

d> 

:d'.d'it      :t  .t 

d'      :-      d' 

:d'      i 

For 

he 

Uv 

.    eth  and  reigu  •  eth  for- 

ev        -        -     er 

and 

1 

t 

d      :- 

-       id      :- 

f 

:-     '8       :8 

d      :r.n  jf 

:f  .f  , 

For 

he 

Uv 

.     6th        and 

reign-eth  for  -  ev    ■ 

•    er  and 

mo. 

:8 
:n 

Je 


\ 


I'S 


:n 
:d 

ith    the 


:t 
:f 


Is 


ni 

tr" 

ev 

-    «r, 

8 

:8 

er 

-    er, 

d' 

:t 

e? 

-    er, 

8 

:8 

ev 

-    er, 

d< 
n 

nnme, 

d< 
d 

uome, 


d' 
n 

imme, 

d' 
d 


d'      :d' 


m 

:n 

pniis 

-es, 

S 

:s 

:d 


m 

lie 


t  p 

:s 

:m 

lie 


THIBD  STEP. 


n' 

8 

joioe, 


d> 

Be 


|8 
joice, 


:d' 

8 

:8 

m      : 

re    - 

jnice, 

:n 

d>      : 

re    - 

joice, 

1 

n 


3 
joico, 

P 


d' 

lie 


|8 
joice, 


• 
• 

8       :ri.,r    d 

:pi 

8 

t 

• 

s       :m  .,r    d 

Loud  thro'  tlie  world 

pro  - 

S 

claim 

• 
• 

s       :n.,r    d 

:m 

S 

• 
• 

8       :m.,r    d 

:ni 

8 

:8 

m'      :~        — 

:d' 

S 

He    ■ 

8       :—        — 

joice, 

:d>       |8 

He    -    -  joice, 

• 
• 

:8 

re  - 

:m 

re    - 

• 
• 

m 

jnicft, 

d> 

joice. 

8 
He 


m 

joice. 


:d' 

s        : 

:s 

m       : 

re    - 

joice, 

:m 

d'      : 

re 

joice, 

1 

8 
Be 


:s 

Be 


—  :8 

—  :n 

re 

—  :d' 


:d 

and 


8 

rn 

re 


m      :d 

joice,    and 


t 

—  :d' 

—  :  n 

Je 

—  :s 

—  :d 


t 

—  :s 

—  :n 

re     - 

—  :d' 
m      :d 

joice,      and 


1 

f 

joice, 

d* 


praise 


f'.r' 


1 

and 

rl 


joice, 

d'. 


1 

iind 
rl 


f       :— 

praise 


t 

r 

bo 

8 

8 


:r' 
:f 

Tab's 

:8 
:8 


1        :f_^' 
f       :1 

joice,     imd 


8 

pmise 
I 


n 

8 

bis 


f 

his 

r' 


f 

bis 

r' 


8 

pniise 

n' 

8 

bis 


d'      :t 
n      :r 

high  -    est 

:8 


8 


:8 


d'      :t 
8       :f 

I)raise     bis 


d' 
f 

praise 


:r 


In' 

Is 

his 


:r 


69 


1  .1  / 


er  and( 

d> 

and 

f 

er  and 


d> 
n 

name, 

d' 


:d' 

d'    : 

Je- 

bo 

:n 

f     : 

Je  - 

ho  -  ▼ 

:s 

1     : 

:d 

f     : 

f 

▼ah 
1 

f 


I—  :d' 

-         vah 

If     :m 

reigns,  Je  • 

11     :8 
If    :d 


d'     :  — 

reigr.j, 

f      :f 


bo 
1 


viih 

:1 


I-   :f' 

Be 

If     :1 

reigns,  Be 

II     :d< 


/i> 


f     :f     If     :f 


n'   :n' 

|r'    :r' 

d'    : 

joice  and 

praise  bis 

name. 

8     :8 

8     :f 

n    : 

joice  and 

praise  his 

name 

d'    :d' 

t     :t 

d<    : 

8     :8     JBi    :8i 


:-   I 


70 


THUID  STEP. 


'    ASCRIPTION.    S.M. 


Exxkt 

1 

•  ■ 

. 

*      CassnB 

U.  Aixm. 

:8| 

n 

:-  .8    :d  .n 

r         :- 

:n 

li 

:-  .f    tpi  .r 

d         :- 

:8| 

:rni 

S| 

:-  .8|    :d  .d 

ti        :- 

:8, 

fi 

:-  .1|    :8|  .8| 

8,         :- 

:ni 

1.0 

blew 

the  Lonl,  my 

Honl, 

nis 

gmce 

to      theo  pro- 

cbiim. 

And 

2  Tbe 

Lord 

for  -  givoH  tb.v 

Kins, 

Pro     . 

longs 

tby   fee  -  ble 

breath, 

He 

3.  Then 

bleM 

his  bo  -  ly 

uiiine, 

Whose 

grace 

hath  made  tboe 

whole, 

AVboM 

:d 

d 

:-  .m   :8   .8 

8         :— 

:8 

d 

!-  .r    :8   .f 

n        :  — 

:d 

:d 

d 

:-  .d    :rn  .d 

8|           !- 

■       :d, 

fi 

:-  .f|    :8|  .8| 

d,        :- 

:d, 

■i 

!-    .1|    :8|    .d 

m    .d    :r 

:8          m 

i-    .m    :d    .r 

d 

n, 

:-    .f|    :ni  .Hi 

S|      .8|      :8| 

:8, 

8| 

:-    .8|    :8|    .8| 

8| 

all 

that    i«       ^ith- 

in       me    join 

To 

bless 

hia      ho  -  ly 

nnme. 

heal 

eth    thine  in  - 

ftrm  -  i   -   ties, 

And 

ran 

Boms  thee  from 

dcnth 

lov 

ing    kind-ness 

crowns  thy     days, 

0 

blosa 

the    Lord,  my 

HOUl. 

d 

:-    .d    :d    .d 

d    .  d    :  t| 

:r 

m 

:-    .d    :n   .f 

n 

d. 

:-     .d|    :d|  .d| 

d|    .  Pii  :8| 

:t, 

k 

:-    .d    :8|    .S| 

d, 

i^ 


K»  F. 


DENNIS.    S.  M. 


Naoeu. 


:n 

n    :d 

:n 

r     :t| 

:r 

d     :- 

:d 

d     :1, 

:d 

d     :8| 

:d 

t,     :- 

:r 

:d 

d     :S| 

:d 

t|     :s, 

:8, 

S|     :— 

:si 

li     :fi 

:li 

S|     :mi 

:8, 

8,     :— 

:t, 

1.  How 

gen 

tie 

God's 

com- 

mnnds, 

How 

kind 

his 

pre 

ceptB 

are! 

Come, 

2.  Be  . 

ncatb 

his 

watch 

ful 

eye 

His 

fMxintfl 

se  - 

cure 

ly 

dwell; 

Tlie 

3.  lliB 

good 

ness 

stands 

ap  - 

proved. 

Un- 

changed 

from 

day 

to 

day; 

I'll 

:8 

s     :n 

:s 

8     :r 

:f 

n     :— 

:n 

f     :d 

:f 

m    :d 

:n 

r     : — 

:8 

:d 

d     :- 

:d 

8,     :— 

:8| 

d     :- 

:d 

fi     :- 

:f. 

d     : 

:d 

8|     :— 

:8| 

:t, 


ti    :8| 

oaHt 

band 

drop 

8     :r 


:r 

:8, 

yonr 
which 
my 

:f 


S|    : —   :8| 


d     :n 

:8 

8 

:r 

8|    :d 

:d 

t, 

• 

bnr    -     - 

dens 

on 

bears 

all 

na 

•       . 

bnr    -     - 

den 

at 

m    :8 

:in 

r 

:8 

d     :—    :d 


:f 
:r 

the 

tare 

his 

:8 

8i     :—  :8i 


PI    ;8 
d     :- 

Lord, 

up, 

feet, 

8      tn 

d     :—   :d 


:1 
:d 

And 

Shall 

And 

:f 


8     :n 

:f 

m    :d 

d     :- 

:d 

d     :8| 

trnst 

his 

con    - 

gtiard 

his 

chil    - 

bear 

a 

song 

n    :8 

:1 

8     :m 

d     :-    :f, 


8i    :— 


:r 

:8, 

stant 
dren 
a    • 

:f 

:8| 


d     :- 

8|     :  — 

care, 
well 
way. 

n     :  — 
d     :- 


TBIBD  STEP. 


71 


Synoopstion  ia  the  anticipntion  of  accent  It  reqnirea 
an  accent  to  be  strnck  before  its  regularly  recurring  time, 
elianging  a  voeak  pulse  or  weak  part  of  a  pulse  into  a  strong  one, 


Hi 


Ex.  169. 

:T     I-     :1 

TAA  TAA        l-iA  TAA 


1 


:1       I-     :1 


{I 
II 


TAA         TAA         I  -AA 
Ex.  170. 

1      X      :- 

TAA         TAX     •       Ai 

Ex.  171.    XKT  C.    Bound  in  two  parts. 

^  :8       II       :r 


.1 

TAI 


1       .1       :- 

TAA  TAI      -       AA 


8       :8       I  — 

Come   now, 


oh. 


(In      : 

1 1  Yes. 


we're 


come    now, 

f       : 

com     • 


Ex.  172.    XST  C.    Bound  in  two  parts. 


Wk  " 


-     If      :- 


no, 


n      :— 

no. 


If 
-    ing 


|r 

no, 


II 

II 
{| 


—    tr 

yes, 


I-     :d'      I-     :t 

yea,      |  yes, 


Ex.  173.    KXT  C.    Bound  in  two  parts. 

d'     .r     :-       .t       II       .T 

Come  now, 


O 


PI     .n 

No,       no. 


:n 

no. 


come    now, 

f         .f 

no,        no, 


:f 

no, 


TAA 


.1 

TAI 


:I 

Or 


-     :1 

yes, 


.8 

Or 


.  n 


and  the  immetliately  followinn  strong  pulne  or  part  of  a  puis* 
into  a  iceuk  one.  It  niuHt  be  boKlIy  ntnick,  and  the  strung 
accent  on  tbe  immediately  following  pulse  must  be  omitted. 


1       :1 

TAA  TAA 


1  .1 

TAA  TAI 


t       :t 

we         shall 

s       : 

right 


d> 

no, 


:8 

yes. 


—     :1 

•AA  TAA 


:1       .1 

TAA  TAI 


—     :t 

be 


|8 


:-     It 

no. 


—     :f 

yes. 


f 

we 


.n      :r 

shall      be 


.d' 


.f 

too 

.t 


-     :1 

-AA  TAA 


TAA  SAI 


d'      :d' 

Lite,       I 


d 

long. 


1       :- 

no. 


-     :f 


And      I  you,     too, 


must    I  wait 


m 

late; 


I'        '^       ft 

I  TAA  TAA  If 


:1 

TAA 


SAJ 
T.  P.  S. 


!d' 

fear. 


|s       :n 

no,         ye^ 

In      : 


yes,        yes. 


I 


Ex.  174.    KZT  F.    Bound  in  three  ports. 

(In         :ni    .,f  Is  :d 

i|Cnll  John    the  |  boat    •     man. 


n 

call 


:r    .,d  ir 

him     a  - 1  gain, 


:-    .d 

For  I  loud 


In 

hot 


:s    .1    Is 

roars  tbe  I  tem 


:n   .d   j. 

pest  and  ) 


I  I  fust 


II 
II 


d 

oom 


:n    .,1^  |d 

foils     the]  rain. 

:d   .d   Id 

are     at    j  rest, 


8   .8    :-    .1 


rap- id 


and  I  deep; 


.d    :d  .d    Id 

John  is      a  -  I  sleep, 


:-    .d   Id         :t|  .1|    |si 

he    I  sleeps        ve  -  ry    |  sound, 


:d    .d   In 

and    his  |  boat 


:8    .,f  In         :8 

is        a  -I  ground.    Loud 


:-    .t,  I 

His) 

—       :d    .,r  In  .n  :      .d   j. 

the  I  riv  •  er,  so    ) 


xoors 


.8,81 8   .8    :n  .f    Is 

Butthel  louder      you   coll  I  John, 


.n    Is    .8     :8|      .,8||d 

the  I  sounder   he       will}  sleep. 


I 


\ 


72 


T.  P.  S. 


kkyC    M. 

100. 

:d    .,S| 

m, 

:d     .,8, 

n, 

1.  Hear    the 

warb 

2.  Hear    the 

ech 

pj     .n    :n 


La 


la        la 


d      .d    :d 


THIRD  STEP. 


HEAR  THE  WABBLING  NOTES. 


.8|      :d     .r 
.S|      :d     .r 

ling      notes    of 
oea       as     they're 

i 


m 
n 

spring 
ring    - 


la 


:d 
:d 

time, 
ing 


n     .n    J  n 


la        la 


d     .d    :d 


:d    .tt 
:d    .t| 

From  the 
Far     and 


1| 

1| 

g»y 

near, 

f 

La 

f| 


.f. 


La       la 


:f 

la 
la 


T.  F.  Skwabd. 


.d 
.d 

and 
o'er 

.1 

la 


cheer-ful 
hill      and 

:s     .f 

la        la 


s,         : 

throng, 
dale 

s,         : 

{ 

n         : 

la 

d         : 

la 

d 

la 


:d 

.,8| 

m, 

• 
« 

.S|   :d 

•r 

n 

:d 

Ev  . 

■  ery 

voice 

is     fillet 

I  with 

glad    - 

ness, 

Let 

us 

join 

them  vnth  our 

sing    - 

ing. 

:d 

.,S| 

m, 

•  "• 

.S|   :d 

.r 

n 

La     la 

:d 

la 

n  .n 

La     la 

:  n 

la 

• 
t 

rn    .n 

:n 

:d 

d    .d 

:d 

• 
• 

d    .d 

:d 

la 


:d 

.,t| 

Let 

us 

Send 

-ing 

li    .1    :1    .8 

join  their  hap-py, 
out  our  songs  on 

.     :t|    . 

la 

:r 


li 

La 
f 


l| 


:8| 


:f   .r 

hap-py 
ery 

.t. 
la 

.f 


ev 

:t, 

la 

:r 


:8|  .S| 


d 

song. 
Hide. 

d 

la. 

m 
d 


:8  .,1 

La  la 

:d  .,d 

La  la 

:n  .,pi 

:d  .,d 


8  ,r  :r 

la  la  la 

t|  .ti  :t| 

la  la  la 

r  .8  :8 

S|  .S|  :8| 


:8 

la 

:t, 

la 

:8, 


la 

8 

la 

.n 

la 

.,ti 
la 

d 

la 

.d 

la 

Mr 

PI 

.8 

.,S| 

d 

.d 

:n 

K 
:d 

la. 

:8 
:d 


:s      .,1 

Hear  the 

:d     .,d 

Hear    the 


:d 


8    .t 

ech-oes 

t|   .r 

ech-oes 
8      .t 


.1  :8    .f 

so  gai  -  ly 

.f  :m  .r 

BO  gai  -  ly 

.1  : 8    .f 


8|   .S|    :-    .8|    :1|    .t| 


^ 


.  W 


:<  .^ 


-^:'M\ 


rTd    :d 

i-ing  -    ing, 

\!^]       :d 


/.   A 


:8  .,1 
:d  .,d 

La    la 

:m  .,Pi 
:d  .,d 


8  .r 

t|  .t) 

la     la 

r  .8 

8|  .S| 


KJSY  E.     M.  160. 


\    d  ,r 

■(.Cv>[-e 
9.  A   - 

p:    So 

(.d_,r 
\.d,r 


I •>    .PI    : m 

let      nf?       nil 


.8 

.8 

be 


way  with   uU       the 
when  the    clouds  are 


in    .PI    : n 
PI    .PI    : n 


.8 
.8 


:r 

:8 

.,1 

8    .PI 

:n 

:t, 

:t, 

.,t| 

d  .d 

:d 

la 

la 

ift 

la    la 

la 

:8 

:r 

',r 

m  .8 

:s 

:8, 

:si 

.,S( 

d  .d 

:d 

:8  .,1 
:d  .,d 

la      la 

:m  .,pi 
:d  .,d 


8  .t  ,1 :8  .8,f  :m  .r 

t|.r ,d :t|.t|,r :d  .t| 

la  la  la  la  la  la  la  la 

8  .0  yS  •  S  .8  yS  •  8  tX 

8|.S|,S| :8|.S|,S|:S|  .8| 


.f 
.f 


COME,  LET  US  ALL  BE  MERRY 
.r,P1 


d 

:d' 

d 

:d 

la 

la 

n 

:pi 

d 

:d 

u'ler  -  ry, 
tra  -  cea 
low'r-ing, 

8      .f 
8      .f 


.r,n 


For 
Of 

Then 

.r,m 
.r,pi 


f     .8 
f     .8 


:1     .t 
:1     .t 


gnev-ing     is        a 
sad  -  neHS    glonm  and 
let      UH       laugh  the 

f    .8     :1     .t 


.8 
.8 


:1     .t 


d<  .8 
d<   .8 

tol  .  ly 
Mor  -  row; 
strong-er, 

d>   .8 
d<  .8 


Arranged,  and  new  words. 


j_pr,f 
.d~ 

All 
If 

For 

.8 

.d 


8      .8  :8  .1 

n    .m  :m  .f 

(Mire  and  trou  -  ble 
we     niUHt  wear     long ' 

thus  all  care  o'er- 

d'    .d'  :d'  .d' 

d    .d  :d  .d 


Skwabd. 


:t, 

.1| 

:t, 

.1| 

cbeer-ful 

hill 

and 

:s 

.f 

la 

la 

:f 

.r 

r. 

hap-py 

1 

ev  - 

ery 

:t, 

.t| 

la 

la 

:r   .f 


:S|  .S| 


rs    .f 

gai  -  ly 

:m  .r 

gai  -  ly 


:s 
:1| 


.f 

.t, 


:d' 
:d 
1» 
:n 
:d 


w  words. 

:s     .1 
:rn    .f 

tron  -  ble 
wear     long ' 
care      o'er- 

:d'    .d' 
:d     .d 


THIBD  STEP. 


r$ 


8    .1*1    : 

■d' 

t  ,1.8  ,f  :n,r.d,t| 

r    .d 

m    .d     : 

bu  -  ry 

.n 

And 

8  ,f.m,r  :d,t|.l|,S| 

wliile  we      live     be 

t,   .d 

jol  .  ly. 

fa   -  oes, 

Let's  , 

keep  them  for       to  - 

morrow. 

pow-'ring, 

We'll 

sure  -  !y      last    the 

longer. 

d'    .8      : 

.8 

8     .8,1  : 8    .r 

f    .n 

d    .d     : 

.8 

r    .m,f  :s     .S| 

8|  .d 

r,r  .r     :  r 

jolly  old  world 

t|     .t|       St| 
ha    ha        hn 


.Si 


:s 

:s, 


.8 

you 

'.t, 
ha 

.8 

.8| 


// 


:d' 


n    . 

:1 

^'o; 

AU 

d'    . 

:d' 

:f. 


m1 

..f 

w 

Md' 

Mfl 


m    . 

know. 

d    . 

ho. 
8      . 

d    . 


s     .n 
n    .d 

li;i|)-iiy. 

d'    .8 
d    .d 


di 

m 

.Vll 
8 


.,1 

.,f 
be 

.4' 

.,d 


8     .m 
n    .d 

hap-py, 

d<   .8 
d    .d 


:d' 
:1 

all 

:di 


.,1 

.,f 

be 

Md' 

.,fi 


s     .n 
m    .d 

mer-ry. 


II 


.8 


d    .d 


Modificatious  of  Mental  ES'ect.  Thus  far  v/e  have 
fitnrlied  the  mental  effoot  ol'  tones  when  suns  wlowly.  All  these 
effects  are  greatly  moditiod  by  i)itc'h,  by  hannnny,  by  quality  of 
tone,  but  cliieHy  by  sjjced  of  movement.  Hi^'lmess  in  pitch 
fiivoi"H  the  brifiiitnoHS  and  keeniicHH  of  effuot,  makes  raij  more 
rousiu},',  and  tt>  more  \u^.:  -.ni,  LowneKS  in  pitch  favors  the 
deprcHHing  emotions,  .^luke  fah  more  desolate,  and  Ink  more 
Slid.  Quick  movemrnl  ii'akes  the  strouR  tones  of  the  scale 
(d  n  B)  more  bold,  an:!  the  emotional  tones  (r  f  1  t)  pay  ar  i 
hvely.  Let  the  pu.iils  Kiii;^  any  exercise  containin;^/u//  and  bih 
very  slowly  indeed,  imii  notice  how  their  mental  effects  are 
broup;ht  out.  Then  let  them  siup  the  same  piece  as  quickly  as 
they  can,  keeping  the  time  and  observing  the  chanj^e.  Fah  and 
iitk  are  now  gay  and  abandoned  instead  of  weeping  and  desolate 
in  their  eflfect,  and  the  other  tones  undergo  a  similar  modifica- 
tion. The  tune  Manoah  will  afford  a  very  good  i'lustratiou. 
Let  it  be  sung  first  very  slowly  and  then  very  quickly.  Let  the 
pupils  try  in  the  same  way  other  tunes  which  are  deemed  most 
chanicteristio. 


KktG, 
rd.rjm     :—    :r      |d 

|li    :—  :r.Pi|f    :—  :in 

|t|    :—  :8,    |m    : —  :r 

la   :f    ;r    |d  :—  :■,  I  m 


:—  :t,  it,  :—  :1,  } 
|r  :—  :d  |d  :—  :— } 
|f    :—  :n    |1     :—  :in  } 

:— :r    |d  :-  :-|— r-ll 


CHORUS.  . 


.d  ,r 

With  a 


n 

All 
S 

d 


m1 

be 

.,d' 
.,d 


n  .n  :n  .r.n 

ha  ha  ha.  Ana  a 

d  .d  :d  . 

ha  ha  ha, 

d  .d  :d  . 


8     .n     :r     .r 


* 

f 

ho 

• 

.f 

ho 

• 
:f     .f.m 

ho.     'TiB  a 

t, 

.t| 

:t|     . 

ho 

ho 

ho, 

8 

.8 

:8     . 

r 

.r 

:r    . 

m    .d 

mer-rv, 

d>   .8 


:  t(     .  t| 

Let's    be 

:8     .8 


d    .d      :8|     .8| 


8     .f     :m        .,f 


t|    .t| 

jol  -  ly 
8       .8 

8|      .S| 


:d 

as 

:8 
:d 


..r 


we 


.,8 

..d 


:f      .1 

s 

.f 

:n 

.r 

d 

t^ 

:d      .r 

m 

.r 

:d 

.t, 

d 

_!• 

Vroth-ers 

all. 

both 

friend 

and 

ffte. 

:1       .f 

S 

.1 

:s 

.f 

m 

• 

:fi      .fi 

n. 

.f| 

:8i 

.8, 

d 

• 
•  •* 

"  Elementary  Rhythms  "  required  for  the  time  exer- 
cise of  the  Elementary  Cortifionte,  should  be  carefully  taui,'ht  by 
the  teacher  and  diligently  practiced  by  the  pupils  at  home. 

Modulator  Voluntaries.  Ear  Exercises,  rointinq 

and  Writi't'i  from  }[">nt>ri/  arc  htill  to  bo  jtraoticcd  at  every 
lesson.  The  exercises  becomiriR  more  nnd  more  dithfult  as  the 
pupils  gain  facility.  The  voluntarit^  will  now  include  la-inij  as 
well  08  solfa-ing,  to  the  teacher's  pointiii'^.  \  few  two-part  Ear 
Exercises,  as  in  "Hints  for  Ear  ExerciKcs,"  can  now  be  wisely 
introduced,  but  only  to  quick  and  observant  classes.  To  others, 
each  "part"  of  the  exercise  will  serve  as  a  sei 


separate  exercise. 


pjxaminations  for  the  Certificate  may  begin  six 
weeks  before  the  close  of  the  term.  All  the  requirements  need 
nc*  be  done  at  one  inter\'iew  ;  as  soon  as  a  pupil  is  prepared  in 
an>  one  requirement,  he  may  be  examined  in  that,  but  all  the 
requirements  must  be  done  within'six  weeks,  or  else  the  exami- 
nation begins  again.  The  examination  may  be  conducted  be- 
fore the  whole  class,  or  in  private,  tm  Buits  the  couvenienoe  of 
the  teacher  and  pupilB. 

For  instmctionB  in  Fbice  Training,  lirmthing,  ITarmony,  etc., 
belonging  to  this  step,  the  teacher  will  consult  the  Standard 
Course. 


74 


THUU)  STEP. 


QUESTIONS  FOB  WRITTEN  OR  ORAL  EXAMINATION. 

DOCTIIINE. 


a 

3, 

4. 

S. 
6. 
7. 
8. 
9. 

10. 


11 

19 
13. 

14. 

l."). 
Ifi. 
17. 
Iti. 
lU. 

30. 

81. 
•W 

3. 

S-i. 


Wliat  two  new  tonea  hare  yon  lo.nrned  In  thia 

Hll'llt 

llelwvoii  what  two  tones  dors  Fah  comet 
Itrtwi-en  what  two  tones  iUh'h  Lah  toiiio! 
Whiil  in  iho  luliilivH  itoHitioii  ol'  Fah  to  Doht 
Whul  is  ihe  ruladvu  ixi.sitioii  oC  Lah  to  Duht 
What  i»  the  iiii'iilal  fll'.rt  of  Fah!    Of  Laht 
AVhiil  i.s  thtt  iiiaiiiial  Hi;iii  tor  Fahl  For  Lah't 
Whiil  I'horil  Ik  I'oniivil  of  the  loneH  f  1  dt 
What  is  llio  Huriea  uf  luuua,  d  r  m  f  s  1  t  d', 

callt'.lf 
AVIiii  h    is   tlio   flOh  tone  of  the  Brnlof    Tlie 
lhir<lf     'I'hitxi^th?     (  Thu  ti'at'hcr  will  nii|i- 
)ily  Mililiii  ij;il  i|iii'stiuiis,  mill  al.io  i|iiL>»liuiid 
on  lliu  loi-itlai  cH'uctH  ami  haiiil-Mi;;iis.) 

Kacli  loiif  of  Uie  Huulu  tlill'urH  from  tLu  utbeis, 
III  What) 

Wliat  is  iiicniit  hy  "pitch?" 

What  is  ilin  (•iu'hth  tone  aboro  or  below  any 
):lvi'ii  liiiic  calU'il  I 

IIuw  is  tliM  octave  abore  any  tone  indicated  in 
till!  iioialioiil 

IIow  JH  the  octave  below  iiidirntcilt 

How  is  the  Hi'coiiil  octave  ImlicattMlT 

Whlcli  ai'o  tlio  Ntiiiii;;,  liohl  toiioii  uf  the  acalot 

Wlilih  ail-  the  Iraiiiiij;  toncMl 

Wliiili  twd  iiiiifH  have  the  atrongcat  leaning 

III    IrailillU  IflliliMIC.vf 
To  wll;lt  loliu  iloos  I  Irail? 
To  what  (oiii;  iloi's  f  liiaiif 
Wliiii  is  iliriiiosi  iMi|ioi Hint,  thPKtrongcat,  the 

;;iiv<'i  iiiii^  lone  of  Ihe  scale  calli-il  I 

What  Ih  a  family  of  loiics,  coiislstiii),' uf  a  Icey- 
toiK  aiiil  ni.x  ivlaluil  tonus,  ualliiitl 

AVIiiMi  the  toiii-H  of  II  key  Hie  arraiitied  In  ano- 
civ^nne  oi'ih-i, iwcuuiJiug  ur  duecuiidiug.whut 
Uu  iLey  luukut 


Si).  Miint  the  acnle  alwnyn  he  Niin<r  at  the  ^ami^ 
pitcli  or  may  il  he  .sun;:  alililt'eruiit  pitclient 

20.  What  is  the  naiiioofthat  scale  from  which  all 
the  'iiiici'!)  are  reckonrii' 

27.  What  IS  the  naineof  tin-  |iitcli  that  is  taken  as 
the  Ui'Vlono  of  the  Stamlai  il  Scale  I 

•is.  Name  tlie  pitches  of  tho  Stniiilard  Scale! 

29.  What   i.itch    is    Soht      Ilaiif     Laht     (The  I 

tearlii'i'  will  .siippiy  Himilar  i|iieslioii!).) 

30.  In  the  aliscnce  of  n  iiiiisical  iiistninient,  how  I 

may  the  ciiriecL  pilcli  of  iho  Standard  Sea  » 
\m  ulitaiiicd  ( 

31.  From  what  is  ii  aciilo  or  Vey  nnineilf 

32.  Uow  are  the  dilTeruul  lieya  indicated  In  the 

notation  t 

33.  What  ix  the  ilillVronce  of  pitch  between  the 

Voices  of  men  ami  liie  voices  of  wonicut 

34.  What  1.1*  the  name  of  the  pilch    that  ntiiiiila 

nhoiit   the  middle  uf  the  usual  vucal  cum- 
)iaHs  f 

35.  Is  miiMIe  0  a  high  or  a  lo\r  tone  in  a  man's 

voice  I 

.IG.  Is  it  u  high  or  a  low  tone  in  a  woman's  votcot 

37.  What  are  the  high  voicoa  of  women  cnlledf 

38.  What  is  the  iisiini  coiiip.-isl  of  the  Sopranot 

39.  What  are  the  low  voices  of  women  called  f 

40.  What  is  the  usual  compass  of  the  Contniltot 

41.  What  are  the  high  voices  of  men  called  > 

42.  What  is  the  usual  compass  of  the  Tenor  I 

43.  What  are  the  low  voices  of  men  callodt 

44.  What  is  the  usmil  compass  of  (he  llasef 

45.  From  what  octave  of  the  Slainlard  Scale  la  the 

pilch  uf  the  iieyuulu  uf  uuy  key  lukunl 


46.  IIow  fa  thia  tone  and  the  aix  tonM  abOT*  la 

marked  f 

47.  In  the  Key  O  the  nnmnrked  CJof  tho  Standard 
.Scale  is  dtih.  what  is  the  unmarked  A I  Th* 
iiniiinrked  E.' 

■18.  How  would  tliat  lah  be  marked? 
4!).  Willi   what   octave  marks  are  the  IJase  and 
Tenor  pai  ts  wrilteu/ 

50.  IIow  is  the  exact  rate  of  raovenieut  of  a  tune 
I  regiiiateill 

51.  What  lines  II.  CO  Indicate? 
i  52.  IIow  is  the  rate  of  verf  iiuiek,  six-pulse  meaa- 

lire  marked  I 

53.  What  is  vhe  time-nnme  nfa  nileiice  on  tlie  first 
half  of  a  pulse?    Uii  the  aecoini  liaUW 

54.  How  are  hulf-piilso  ailencea  iKilicuted  in  the 
notation? 

55.  What  is  the  tinie-nnmo  of  a  pul.so  divided  into 
two  i|iiarler.s  and  a  hali*? 

5G.  IIow  are  they  indicated  in  the  notation t 

57.  Wliat  is  the  time-name  of  a  half  and  two  quar- 
tet a_l 

58.  IIow  are  they  indicated  in  the  notation? 

59.  What  is  the  lime-name  of  a  pnlse  divided  into 
a  llii'ce-4uaiter-]nil.su  tone  and  a  i|uaitert 

CO.  now  am  tliey  indicated  in  tho  uotatiuu? 

Gt,  What  is  syncopntioii? 

02.  What  is  its  ed'ect  upon  a  weak  pulse,  or  weak 
part  of  a  piii.su? 

G3.  What  is  its  oHcct  upon  tho  next  foUowIni; 
strong  piil.su? 

C4.  By  what,  rliielly,  ia  the  mental  elTect  of  tonea 
nioililled? 

65,  IIow  does  a  quick  movonirnt  effecf  the  strong 
I  tuuua  uf  ihu  auulut    The  uuiutiuuul  luuus  ? 


•^ 


PRACTICE. 


66.  Sin?  from  memory  the  nitch  of  d'  ofthe  Stand- 

ard Scale,  and  sing  down  the  scale. 

67.  Strike,  from  Ihe  liiniiiii  fork,  the  jiitch  of  d'  of 

the  Slainlard  Scale,  and  .ling  duwu  the  scale, 
us  above. 

«8.  INtch,  from  the  tuning  fork,  Key  D— O— A— r. 

69.  SiiiL'  to  la  the  FaK  to  any  hoh  tlie  teacher 

gives. 

70.  Ullto^o^.  Ditto  tnA.   TJilfo  7>iA,.  Ditto  any 

of  I  ill]  tonea  uf  the  acaie  the  luacbof  may 
choose. 

71.  Tuatai,  with  accent,  a  fnnr-pnlae  meaanre,  at 

the  rate  of  M.  (iO,  ftvui  memory.    At  tha 
rau»  of  M.  120. 


73.  Tnatai,  witli  accent,  nght  fnnr-pnlae  menanrea. 
NiiNiaining  the  rulu  uf  Al.  iiO.  Tliu  ratu<uf 
U.  \.M. 

73.  Taatal,  from  memory,  anv  one  of  thePlxa.  I.''i7 

to  liiO  anil  Hi'l  III  li'i.'i.  cliimeii  by  tbu  teacher, 
the  lirst  lueiisurti  being  naiiiuil, 

74.  Tuntal  on  one  tone  any  one  of  the  li^xa.  lOG 

to  Ili8,  chu.seu  by  thu  ieticher. 

75.  Taalai,  in  tune,  any  one  of  the  Exa.  167,  1G8, 

173,  clioauu  by  the  teacher. 

76.  Follow  the  examlner'a  poliitinir.  in  a  new  vol- 

untary coiilainin::  ail  the  lolieH  of  the  NCllle, 
but  no  ditliculUea  uf  time  greater  than  the 
•«M>»tf  atop, 


77.  Toint  and  Solfaon  the  modulator,  from  mem- 

ory, any  one  of  the  followiiii;  four  ICxi'icisea 
133,  l:ii,  137,  138,  chosen  by  the  uxamiiier, 

78.  Write,  f^iim  iiiemnry,  anv  other  of  these  four 

UxurciHcs,  chosen  by  tlie  examiner. 

70,  Tell  which  istaA,-  wliicli  ta  /ah,  as  directed, 

on  page  3C,  i|uestion  31, 
80.  Tell  wliat  tone  of  all  Ihe  scale  ia  sung  to  la,  aa 

at  page  32,  i|uestioii  32. 
ei.  Toniai  liny  ihythni  of  two  fonr-pnlse  meaaiirea 

beloiis  io  the  step,  which  Ihe  examiner  shall 

ia  tu  you,  are  page  32,  i|iioMtioii  33. 
83.  Taatal,  In  lunn,  any  rhylhiii  of  Iwo  foiir-niifa* 

nieiuiiiivs  iH-loiiKing  to  this  step,  whicli  Iha 

exiimlner  SuU'iui  tu  yutl.    8ee  page  32,  q  !•• 

tiwu34. 


»nM  »boT«  It 

r  ilie  Stnndftrtf 
ikudAt    lb* 


t)io  JiaAo  and 
leut  of  a  tun» 

ix- pulse  meas- 

u-c>  on  the  firHt 
<i  liiiU'i 
licaliiil  ill  the 

10  iliviiled  into 

lotntiont 
ami  two  quar- 

lotntionf 

tt*  iliviilcil  Into 
1  II  <|il;il  tf.rt 

lotatluuf 

pulse,  or  weak 
next  following 
effect  of  tones 


ITi'ct  Ihb  strong 
tiuuul  loiiutit 


tor.  from  mem- 
ioiir  ICxiTcises 
lit)  oxiiiiiiiiiir. 

r  of  tliuse  four 
miller. 

h,  as  Jir«oted, 

s  sung  to  la,  a> 

pulse  monsnrea 
KXiiiiiluur  shall 
III  :i:i. 

two  fiiiir-nii(«« 
il«<|i,  which  tb» 
I  put{e  M,  i|  IM 


75 


FOURTH  STEP. 

The  Intervals  nf  the  Scale.     Trnnaition  io  the  T^iritt  Sharp  and  the  Fir/^t  Flat  Keys ;  Us  proeeaa  and  menial  tffed.     The  tonea  A  and 
7b.     Chromatic  effects.     Cadence,  Passing  and  Exlemled  D-ansition.     Pitching  Tunes.      Thirds  of  a  Puise.     Beating  Time. 


The  Intervals  of  the  Scale.  In  the  nrt  of  singing, 
liiR  snliject  is  not  now  deemed  so  important  us  it  once  was,  for 
Btti'ntion  is  now  directed  immediutelj'  to  the  clmracter  nnd 
mental  effect  of  a  tone  ia  the  Bcale,  rather  than  to  its  distance 
fr<nn  any  other  tone.  In  an  elementary  cluss  tiie  Rubject  need 
not  be  dwelt  upon — merely  the  main  facts  briefly  i)resented. 
The  teacher  or  student  who  wishes  an  exhaustive  treatment  of 
the  matter,  is  rel'ered  to  Llusical  Theory,  liook  I.,  by  John 
Curwen. 

The  Tonic  Sol-fa  statement  of  the  scale-interrals  is  as  fol- 
lows: 

t  to  d Little  Stet) 5  Kommas. 

1  to  t (iroater  Step. . .'.»  Kommas. 

8  to  1 Smaller  .Stop. .  .8  Kommas. 

f  to  8 Greater  Step. .  .1)  Kommas. 

in  to  f. . . .  .Little  Step 5  Kommas. 

r  to  m  . . .  .Smaller  Stop. .  .8  Kommas. 
d  to  r Greater  Step. .  .9  Kommas. 

TliTiB  the  scale  contains  Three  Great  Steps,  Two  Small 
ripps  ami  Two  Little  Steps.  The  difference  between  a  Greater 
md  It  Smaller  Step  is  called  a  Komiua:  a  Greater  Stej)  conhisfc- 
ing  of  nine  Kommas;  n  Smaller  Step,  tight  Kommas,  and  a  Lit- 
tle Step,  live  Kommas.  (Jrditiarily,  no  distinction  is  made 
between  the  Greater  and  Smaller  Stejis,  tlioy  arc  simply  called 
Steps,  and  the  Little  Step  is  commonly  called  a  Hall-Stop. 

Intervals  are  also  named  Seconds,  Thirds,  Fourths, 
Fifths,  Sixths,  Sevenths,  Octaves,  and  so  on.  The  interval 
lioiii  any  lone  to  the  next  in  the  scale  is  called  a  Second;  from 
'uiy  tone  to  the  third  tone  is  culled  a  Third;  to  tlu!  tb\u-tli  tone 
l'"ourth,  and  so  on.  A  Second  that  is  ecpial  to  a  Stop  is  called 
.^bljor  Second;  a  Second  that  is  eqnii]  to  a  Little  Step  is  called 
a  Minor  Second.  A  Third  that  is  eijual  to  two  Stoiis  is  called  a 
Major  i'hird— as  from  d  to  n— f  to  1— or  b  to  t.  A  Third  that  is 
cfpial  to  one  full  Step  and  one  Little  Stej)  (a  Step  and  a  Half)  is 
called  a  Jlinor  Third— as  from  r  to  f— n  to  s— 1  to  d  -or  t  to  r'. 

7'e  and  Fah  are  separated  by  a  peculiar  interval,  called  the 
Tri-tone — equal  ti>  three  full  Steps— it  is  the  only  one  found  in 
the  Scale.  Tims  f  and  t  become  the  most  marked  chamcteristic 
tones  of  the  scale.  From  their  mental  effects  t  may  be  odled 
the  sharp  tone  of  the  scale,  and  f  the  Jiut  tone.  We  sh.ill  pre- 
sently see  how  the  whole  aspect  of  the  scale  changes  when  f  is 
omitted  and  a  new  t  put  in  its  phice,  or  when  t  is  omitted  and  a 
new  t  is  taken  instead. 

Transition  is  the  "passing  over"  of  the  music  from  one 
key  into  another.  (Heretofore  this  has  been  called  modula- 
tion—but in  the  Tonic  Sol-fa  syBtem  -'modulation"  has  a  differ- 
ent meaning.)  Sometimes,  in  the  course  of  a  tune,  the  music 
seems  to  have  elected  n  new  covorning  or  key  tone;  and  the 
tones  gather,  for  a  time,  around  this  new  key-tone  in  the  same 
relationship  and  order  as  around  the  first.  For  this  purpose 
one  or  more  new  tones  are  commonly  required,  and  the  tones, 
which  do  not  change  their  absolute  pitch,  change  neverthelesB, 
their  *'  mental  effect "  with  the  change  of  key-relotionship.     To 


those  who  have  studied  the  mental  effect  of  each  tone,  the  study 
of  "transition"  becomes  very  interesting.  At  the  call  of  souin 
single  new  tone  cliaracterisiically  heard  as  it  cntem  the  uuisic, 
the  other  tones  are  seen  to  ucknowlodge  their  new  ruler,  ami, 
suddenly  assuming  the  new  offices  he  requires,  to  milliliter  in 
their  places  aroiunl  hiiu. 

The  musical  /net,  thus  didactically  state d,  may  be  set  before 
the  minds  of  pupils  in  some  such  way  as  the  following  ;  Fimt 
bring  up  the  scale  in  review,  questioning  the  class  as  to  the 
mental  effects  of  the  tones,  the  intervals  and  the  two  most 
marked  charactcriutio  tones  of  the  8cule.  The  teacher  may  then 
Buy: 

Listen  to  mo  while  I  .-^iii)^  si  tune,  and  notice  whctlior 
I  stay  ill  tlio  same  key  all  ilirough  the  tunc,  or  whether  I 
go  out  of  it  at  uiiy  point. 

Teacher  sings  the  following  example  to  la. 


A..      SET  C. 

{i  d        :m        Is 
{|8         :8         Id' 


:m       |1         :!'        Is         :-      } 
:t   .1  Is         :f         In        :  — 


Did  I  stay  in  the  oue  key  all  the  time,  or  did  I  go  out 

of  it  any  point? 

Listen  again,  and  raise  your  hands  wbcu  you  feel  the 
key  lias  ciianged. 

Teacher  now  sings,  still  to  la,  example  B. 


B.      SET  C. 

{|d        :n        !s 


{|8 


id' 


:pi        II  :1         Is         :-       } 

:t   .1  Is        :fe       |s        :—      || 


When  the  toucher  strikos  the  tone  ftr  the  pupils  will,  with- 
out diiulil.  hold  np  till  ir  liunds  if  they  do  not,  then  both 
examples  innst  bo  repeated. 

Yon  feel  that  the  mnsic  lins  "n.T^^ed  over''  into  n  now 
key.  This  change  of  key  during  the  progress  of  a  tuue  is 
called  Transition. 

It  may  be  well  now  to  repeat  the  two  examples  to  la,  pupils 
imitating. 

Let  MS  now  learn  what  lias  caused  this  transition,  -  r 
change  of  key.     You  may  sing  (solfu-ing)  as  I  point. 

The  teacher  points  on  the   modulator  the  example    A 
above. 


76 


FOURTH  STEP. 


Did  yoa  make  a  transition  then,  or  stay  io  the  sa'^e 
kej? 

Trj  it  again,  as  I  point 

This  time  he  changes  second  phrase,  thus: 


O.    a.Ei  C. 
{|d       :m       |s 


:m 


II 


{|8 


:s 


Id' 


:t   .1   Is 


:1 
:? 


|8 
8 


} 


Did  you  make  a  transition  then,  or  stay  in  the  same 
key? 

Listen  to  me. 

Tciicber  singfl  exuinple  B  to  la,  pointing  as  he  sings;  and 
at  /«  he  points  iofah,  ou  tho  modulator,  but  sings  ft. 

Did  I  sing  fall,  then,  or  a  new  tone? 

Was  the  new  tone  liigher  or  lower  than_/a/i? 

Was  it  liiglier  or  lower  than  ^oh? 

The  new  tone  is  a  Little  Step  l)elow  %oh,  and  is  called 
fe;  it  is  to  mh  exactly  Avhat  If,  is  to  doh.  Now  sing  as  I 
point,  listen  to  the  mental  eiVect  of  aoh,  and  tell  me 
whether  it  still  sounds  like  mh. 

Pupils  Hol-fii,  to  the  toixcher's  pointing,  example  B,  above. 

Wiiiit  (lid  the  last  soh  sound  like?  What  did  the_/e 
sound  like? 

Yes  ;  wh  has  oluuiged  into  doh,  fern  a.  new  te,  lah  is 
changed  into  rai/,  U:  into  inc.,  and  so  on. 

The  teacher  may  illuHtrate  thifi  further  if  he  thinks  best. 

You  see  that  Uic  tniiisition  is  caused  by  omitting  /*a^, 
\\cjlal  tone  of  the  old  key,  and  taking  fe,  the  t^harp  tone 
♦if  a  new  key,  in  its  phice.  Fe  thus  becomes  the  dixlin- 
gui^Jniig  tone  of  the  new  key.  The  new  key  is  called  the 
"Soli  Key,"  or  (on  account  of  iha  sharp  elTect  of  the  distin- 
guishing tone),  the  First  Sha7'p  Key.  The  new  key  is 
shown  ou  the  modulator  on  the  right  of  the  old  key.  You 
see  the  new  doh  is  placed  opposite  the  old  «o/i ;  the  new 
'ay  opposite  the  old  lah;  the  new  me  opposite  the  old  te, 
and  so  on. 

The  teacher  will  now  pattern  and  point  on  the  modulator 
example  B,  going  into  the  side  column,  as  indicated  in  exam- 
ple D,  following. 


jy.     KEY  c. 

{|d       :tn       1 8 


:m 


II 


G.  t 

{I'd 


:d 


;m  .T  Id 


:1 


:t, 


:-      } 


Id        :- 


Now  for  another  experiment.  Instead  of  putting  a 
aharj)  tone  under  aoh,  in  place  effah,  let  us  put  Ajlat  tone 
under  doh,  in  place  of  te,  and  see  what  the  effect  will  be. 


Teacher  sings,  and  points  on  the  modulator,  example  B, 
which  the  pupils  may  sing  after  bim. 


E.      KEY  C. 

{jd       :m        1 8 


{|8 


:8 


^1 


:rn        |1         :1        |8        :—      \ 
:b   .1  it         :1    .8  If        :—      || 


Have  we  made  a  transition  or  not? 

Has  the  mental  effect  of  any  of  the  tones  changed  ? 

Listen  again,  and  in  place  of  te  we  will  put  a  new  tone 
called  ta* ;  now  notice  the  mental  effect  of  fah. 

Teacher  repeats  example  E,  singing  ia  in  the  placf.  of  te— 
pupils  imitating. 

Fah  has  become  doh,  soh  has  become  ray,  lah  ha.s 
become  me,  <a  is  a  new  /nA,  and  so  on.  We  have  mado 
a  transition  into  a  now  key,  but  a  different  new  key.  Tin- 
dixlinr/uiKhing  tone  of  this  new  key  is  la.  It  is  called  the 
"Fah  Key,"  or  (on  account  of  the  JIat  effect  of  its  distin- 
guishing tone),  the  First  Flat  Key.  The  Fah  Key  is  rep- 
resented on  the  modulator  on  the  left  of  the  old,  or  Doh 
Key. 

Teacher  will  now  pattern  and  point  exam  Av  E,  i-oing  into 
the  side  column,  as  indicated  in  euimple  F. 


IT.      KKV  C. 

{|d       :n       |s 


f.  F. 

{|8r       :r 


8 


:n        |1         :1         |s        :—      } 
:r    .m  |f        :n  .r   |d       :—      |' 


It  will  bo  interesting  now  to  review  examples  A,  B,  D,  h 
andF. 

Adjacent  Keys  in  Transition,  Snch  transitions  iw 
have  just  been  studied  are  called  trauKitions  of  one  remove,  be- 
canse  only  one  chiingo  is  made  in  the  jjitcli  tones  used.  When 
8  becomes  d  the  uins  ^  !»  said  to  go  into  the  first  shnrp  key,  or 
or  key  of  the  Dominant.  When  f  becomes  d  the  n-nsii;  is  saiil  l.> 
go  into  the  first  fiat  key,  or  key  of  the  Snb-Dominant.  Eighty 
per  cent,  of  all  tho  transitions  of  music  are  to  one  or  the  other 
of  thcKe  two  keys,  and  that  to  the  Dominant  is  tiie  one  most 
used.  The  relation  of  these  two  adjacent  keys  should  be  very 
clearly  understood  by  the  pupil,  and  he  should  be  led  to  notice 
how  the  pitch  tones  change  their  mentid  effect,  as  described  iu 
the  following  table: 

Piercing  t  hecomes  Calm  n. 

Sorrowful  1             "  Rousing  r. 

Grand  •            '*  Strong  4, 

Desolate  f  w  cfMnged  for  Piercing  t. 

Calm  m  beeomtA  Sorrowful  L 

Rousing  r             "  Orand  •. 

Strong  a             "  Desolate  t 

*  For  pronanciktioii,  nee  pftg«  77. 


eiample  B, 


:~      \ 


:;hangcd? 

t  ft  new  tone 
h. 

a  placf .  of  te— 

'aif,  lah  has 
ifive  mndo 
\v  koy.  Till' 
is  called  tin- 
of  its  distin- 
1  Key  is  rop- 
old,  or  Doll 


E,  ^oing  into 


:-      \ 

I       :-      I' 
leB  A,  B,  D,  h 

trnnsitionB  iw 
10  remove,  be- 
I  UHCtl.  When 
t  .shitrp  key,  or 
■.nsie  \H  sniil  to 
inimt  Eighty 
le  or  the  other 
ft  tlie  one  luost 
houlil  be  very 
e  led  to  notice 
a  deHcribed  in 


FOURTH  STEP. 


77 


I 


■  d> 

t 


Returning  Transition.  Ah  h  mle,  nil 
tnnes  go  back  again  to  their  principal  key,  but 
the  returning  tronsitioa  in  not  always  taken  in  so 
marked  a  manner  as  the  departing  transition, 
because  th*  principal  key  has  already  a  hold  on 
the  mind,  and  the  ear  easily  acoeptK  the  slightest 
hint  of  a  return  to  it.  Commonly,  also,  it  is  in 
the  departing  transition  that  the  com  poser  wishes 
to  produce  uis  most  marked  effect,  and  in  which, 
he  therefore  makes  his  chords  deciKive.  and  his 
distinguishing  tones  emphatic.  Let  it  be  care- 
fully noticed,  that  the  return  to  the  original  key 
is  the  same  thing  in  its  nature,  as  going  to  the 
hrattlat  key,  so  that  a  study  of  the  luutuid  relatiou 
of  these  two  keys  is  the  ground  work  of  all 
studies  hn  tninsitiim.  The  pupils  should  be 
taught  to  driiw  a  diagriim  of  a  ])rin('ipal  key, 
with  its  first  sharp  key  on  the  right,  and  its  first, 
flat  key  on  the  left,  observing  earefully  the  shorter 
distances  between  in  f  and  t  d',  and  to  l"am  liy 
rote,  the  relations  ol  tlieir  notes.  Thus,  let 
him  say  aloud,  reading  from  the  middle  column 
to  the  right,  "d  f,  r  s,  n  1,  fe  t,  s  d,"  iiud  so  on: 
and  from  the  middle  column  to  tiio  I  (ft.  "d  s, 
r  1,  in  t,  and  so  on.  It  may  be  interesting  to 
mention,  that  in  i)assing  to"  the  trst  sharp  key 
the  old  1  requires  \o  l)e  raised  a  koinma  to  make 
it  into  a  new  r;  and  in  passing  to  the  lir^^t  fiat 
key  the  old  r  is  loworcd  a  kouuii.-i.  to  inukc  a  new 
1.  These  changes  need  not  trouble  the  learner, 
his  voice  will  naturally  make  them  without  any 
special  effort. 

Notation  of  Transition.  Ton' ^  .Sol-faists  always  pre- 
fer that  their  notes  should  correspond  with  the  nioutal  elfect  of 
the  tones  they  represent.  We  therefore  adojjt  the  plan  of  giv- 
ing to  some  tone,  closely  preceding  ;he  distinguishing  tone,  a 
double  ?wim«.  We  call  it  by  its  name  in  the  old  key  as  well  as 
by  that  which  it  assumes  in  the  new,  p.-onouncing  tlie  old  name 
slightly,  and  the  new  name  emphatically,  thus:  H'  Duh,  L  Jin/, 
7"  Me,  etc.  Tliese  are  called  brhlfjc-tows ;  they  are  indicated  in 
the  notation  by  doiiWfl  notes,  called  briJije-notcs,  tlius:  sd,  Ir,  "n, 
etc.;  the  small  note  on  the  left  giving  the  nutne  of  the  tone  lu 
the  old  key,  and  tlie  large  note  its  uame  in  the  uew  key  This 
is  called  the  "proper"  way  of  indicating  transition,  lint  when 
the  transition  is  very  brief,  less  than  two  measures  long,  it  is 
more  convenient  not  to  alter  the  names  of  the  tones,  but  to 
write  the  new  t  as  fe,  and  the  now  fas  ta. 

The  Signature  of  the  New  Key  is  placeii  over  every 
transition,  when  written  in  the  "I'l-opor"  way.  If  it  is  a  .iharp 
key  (e.  i.  to  the  r'ujIU  on  the  modulator)  the  new  distinguishing 
tone  is  placed  on  the  ritf/U  of  the  key  name,  thus,  6.  t.  If  it  is 
tijlat  key  (e.  i.  to  the  left  on  the  modulator)  the  new  distinguish- 
ing tone  is  placed  to  the  left,  thus,  f  F.,  and  so  on.  By  this  the 
singer  knows  that  be  has  a  new  t  or  a  uew  f  to  expect.  More 
distant  removes  would  have  their  two  or  three  distinguishing 
notes  similarly  placed,  for  which,  see  Sixth  Step. 

Mental  Effects  of  Transition.  The  most  marked 
effects  of  transition  arise  from  the  distinguishing  tones  which 
ore  used.  Transition  to  the  first  sharp  key  naturally  expresses 
excitement  and  elevation;  that  to  the  first  flat  key  depression 
and  seriousness. 


t-ta 

nl    r 

r   8    d 

A-t. 

d  f 

t.  n  1, 

1,  r   «, 

..  d  t, 

Manual  Signs.  It  is  not  advis&blo  to  use  manual  sign, 
in  teaching  transition,  because  they  are  apt  to  distmct  attention 
from  the  modulator,  with  its  beautiful  "trinity  of  keys."  The 
greatest  effort  should  bo  made  to  fix  the  three  keys  of  the  mod- 
ulator in  the  mind's  eye.  But  if,  on  occasion,  it  is  wished  to 
indicate  transition  by  manual  signs,  the  teacher  may,  to  indicat3 
transition  to  the  right  on  the  modulator,  use  his  lefth&ml  (which 
will  be  to  the  pupil's  right),  thus:  Whan  with  the  right  hand 
he  reaches  u  bridge-tone,  let  him  place  his  left  hand  close  be- 
side it,  making  the  sign  proper  to  the  new  key,  then  withdraw, 
ing  his  right  hand,  let  him  proceed  to  signal  the  music  with  his 
left.  Ho  can  use  the  reverse  process  in  the  flat  transition. 
Signs  coul.l  easily  be  invented  for/e  and  ta,  etc.,  but  we  do  not 
ailiise  their  use. 

Cadence  Transition.  The  most  frequent  tmnsitions 
are  those  which  occur  in  a  cadence,  that  is,  at  the  close  of  a 
musical  line.  When  these  transitions  do  not  e.Ueud  more  than 
a  measure  and  a  half,  they  are  called  Cadence  Transitions,  and 
are  commonly  written  in  the  "improper  way,"  that  is,  by  using 
fe  or  III.  Cadence  transitions  are  most  frotniently  made  by  fe. 
In  singing,  empha.size  this/e  and  the  first  f  that  follows  it. 

Passing  Transition  is  one  which  is  not  in  a  cadence 
and  does  not  extend  more  than  two  or  three  pulses.  T!ie  com- 
monest form  of  the  transition  to  the  first  fiat  key,  is  that  in 
which  it  makes  a  pa.-'s-wf/  harmonic  ornament  in  t)ie  middle  of 
a  line,  or  near  the  begining.  It  .is  written  in  the  "improper" 
manner. 

Extended  Transition  is  that  which  is  carried  beyond 
a  cadence.  The  first  sharp  key  is  much  used  in  this  way  in 
hymn  tunes,  often  occupying  the  second  or  third  lines,  and 
sometimes  the  greater  part  of  both. 

Missed  Transitions.  If  one  "part"  is  silent  while 
another  changes  key  (tcioe— when  the  silent  "part"  entera 
again,  it  is  necessary,  for  the  sake  of  the  private  pupil,  to  give 
biAh  bridge-notes,  thus,  rsd.  But  the  chorus  singer  must  fiisr»- 
gard  these  marks  and  tune  himself  from  the  other  parts. 

Chromatic  Effects.  The  tones /e  and /a  are  frequently 
introilucud  in  sucli  a  way  as  not  to  llro^luce  transition.  When 
thus  used  they  are  called  chronwtir.  ^)?(f>.s,  autl  are  used  to  color 
or  ornament  the  music.  Chromatic  tones  may  also  Le  intro- 
duced between  any  two  tones  of  the  scale  which  form  the  inter- 
val of  a  step.  These  tones  are  named  from  the  scale-tone  below, 
by  <;hanging  the  vowel  into  "e,"  as  doh,  de,  ray.  re,  etc.;  or, 
from  the  scale-toi;e  above,  by  changing  the  vowel  into  "a,"  as 
te,  lu,  hth,  la.  The  customary  pronunciation  of  tliis  vowel  in 
.\merica,  is  'ay,"  as  in  "say; "  in  England  is  pronounced  "aw." 

Such  exercises  as  the  fallowing,  should  be  carelnlly  taught 
by  pattm-n,  from  the  modulator.  Let  them  be  first  sol-faed,  and 
afterward  sung  to  la.  In  fact,  all  the  early  transitions,  and  all 
the  more  difficult  transitions,  following  lat^n-,  should  be  well 
taught  from  the  modulator.  If  this  is  not  done,  transition  will 
become  a  confusion  instead  of  a  beauty  and  a  pleasure  to  the 
learner.  | 

The  following  seven  exercises  may  be  treated  as  follows 
Sing  each  exercise    first,  as  written  in   the  "improper"  way. 
then  according  to  the  "  proper "  notation.     Then  connect  the 
first  part  of  each  exercise  with  the  second  part  of  all  the  otharn. 


mmmmm 


7s 


FOUKTH   STEP. 


thns,  the  first  part  of  ExeroiHe  175  and  the  second  port  of  Ex- 
erciHe  17G.  The  first  part  of  Exercise  175  and  the  second  part 
of  Exercise  177,  and  so  on.  Then  take  the  first  part  of  Exer- 
oiae  170  and  connect  it  with  the  second  part  of  the  others,  in 


the  same  way,  and  so  on  with  each  exercise,  singing  by  the 
••  proper  "  notjition.  The  oI»ect  of  this  is,  to  acquire  the  ability 
to  U(ip  to  the  1>ridge-tone.  It  is  needless  to  sav  the  teacher  may 
invent  his  own  exercises,  in  phic«  of  these,  if  he  so  prefers. 


Although  key  0  is  indicated  for  all  these  exerciaes,  it  will  be  better  to  chanKo  the  key  occasionally  to  D  or  E|,.  After  they  hava 
been  well  practiced,  they  may  be  sua<;  through  ooutiuaously  as  oue  exercise.  The  small  notes  indicate  the  tones  as  they  are  named  in 
key  G— called  the  "improper"  notation. 


Ex.  175.    KEi  C. 

Id   :m  |8    :di  It 


:1    |8 


Id   :m  |8    :d>  It    :1    I 

Ez.  176.    SBY  C. 

m   :r   Id    :m   |8    :f   |n    : 


8.  t. 

•d  :d   |t|   :d   In   :r 

fa    :s     It      :1 


8.  t 

"1,  :t, 


:n 

:t 


Ex.  177.     KBY  C. 

d    :r    |m   :d   If    :n  |r 


G.t 

'8,  :1, 

r      :  n 


Ex.   178.      KKY  C. 

in   :f    Is    :d'  ir'   :d'  It    :  — 

Ex.  179.    ttiT  C. 

8    :f    In  :s    |d'   :t    jl    ;— 


r  -r  I 


k 


6.  t. 

tn  :f  |n  :r 

t  :d'  It  :1 
G.t. 

Mr  :n  jf  :r 

1  :t  Id'  :1 


Ex.  180.    ££Y  C. 

n   :f   is    :s    |1    :t    |d'  : 


:r 

:1 


f  c. 

d 

:-    da  :1 

■ 

f.  C. 

d 

:—  1*8  :s 

|.    :r.|f    :r|d:-| 


1     :1    Is    :f    In   :  — 


s       :  — 


r.  C. 
S|    :d    Id    :t|   Id    :— l^s   :r    |n   :f    |n   :r    |d    :  — 

r      : s     Is      : fa    1 8      :  — 


d    :t| 

s      :fe 


d    :t| 

s      :fe 


f  C. 

^8  :d'  Is 


8      :  — 


:n  Ir    :f    In  :— ■ 


f.  C. 

d    : —  1*8  :n 


Ids  :n  If    :r    Id   :t|   Id  :— i 


G.t. 
d'f  :f    in   :d    |1, 

d'      :  d'       t      :  s         n 


:t, 


f  c. 
d    :—  1*8   :8 


If    :f    In  :r   Id    :— || 


Ex.  181.    KEv  C.  G.  t.  f  C. 

|d    :n    |s    :n  |r    :n   |f    :— |fet|:d   In   :r    Id    :t|    Id    :— |ds   :d'  |1     :f    |r    :s    |d    :— 

fe     :8     It      :1        s      :fe     \s      : — 


id    :n   Is    :n  Ir    :n   I 


Extended  Transition  to  the  first  flat  key  seldom  occurs,  so  that  it  is  not  aeceswary  to  give  more  than  one  or  two  examples  of  it 


Ex.  182.    KKv  C.  f  F.  C.'t 

8    :f    In   :s    Id'   :t    |1     :— pn  :f    |n    :r    |d    :t|   |d    :— |df  :f    |n   :s    |1    :t    |d'  :— 

1      :ta 


I  -•     ■    s  ^»»  ,- 

Id'   :t    |1     :— Pn  :f    In    :r    Id    :t,   |d    :— |df  :f    | 

I  I  jl       :ta    II      :■      jf      :in     |f      :-    I  | 


Ex.  183.     K£Y  C. 


f.  F. 


0.t 


|n   :f    is    :s    ll    :t    Id'   :— |<i's  :n  Ir    :f    In   :r    Id    :  -  |df  :1    Is     :d'  Id'   :t    |d'  :— 11 


inging  by  the 
lire  the  ability 
lO  teacher  may 
10  prefers. 


rter  they  hava 
y  are  named  in 


d   :- 


n   :  — 


d    :- 


n  :  — 

I   |d   :~ 

|d:- 

|d:- 

tuples  of  it 

Id'  :— 
|d'  :~ 


FOUIITU  STEP. 


Ex.  184.     KKT  C.    Passing  Transition  to  the  first  flat  key. 

d>     :8       II       :ta     II       :f       im      :—     in 


Ex.   185.      EBT  C. 

8       :m      Id'      :t 


1       :d' 


8       :— 


r 


Ex.  186.    KEY  A. 

:r       Id 


:t. 


:1> 


8| 


Ex.  187.    KET  0.    Chromatic  fe  and  (a, 

d      :m       1 8       :fe      Is       :f 


:fe 


n      :  — 


Ex.  188.      KET  D. 

id      :m 


I''   -"    I 


Ex.  189.    EBT  A. 

8|      :m       Ir       :d 


:  ta       li 


Ex.  190.  KEY  F. 

8       :fe 

Ex.  191.  EST  C. 

s       :f  im 


:n 


:1 


s        :— 


:1 


:fe 


Pitching  Tunes.  In  the  thivd  Ktep  the  pnpil  vus 
tanght  to  pitch  the  key  tone  of  a  time  by  RingiuR  down  tlie 
Standard  Scale,  stepwiHe,  to  the  tone  required.  A  shorter  way 
may  now  be  taught.  In  pitching  key  G  the  prpil  need  not  run 
down  to  G  stepwise,  but  will  full  upon  it  at  once  from  C  In 
pitching  key  F  he  will  take  C  as  a,  and  fall  to  the  key  tone, 
thus,  C— 8  m  d.  Kev  E  may  be  piched  by  falling  to  n,  thuK, 
€'-d'8  n-md.  Kev  A  is  pitched  bv  falling  to  1,  thus  C— d' 
1-ld.  Kev  D.  thuB,'C'— d  r'— i*  d'.  the  key  may  be  pitched  a 
Uttlo-Rtep  higher  (sharper),  or  a  little-step  lower  (flatter),  than 
anv  tone  of  the  Standard  Scale.  The  tones  thus  reijuired  are 
mnined  "C  shurp,"  "D  sharp,'    'E  flat,"  •  D  flot."  etc.,  and  the 


:f 


:ta 


m 


:8 


—     Hi       :tai 


R 


:d 


:ta     II 


:t 


1      :f 


m 


:r 


7a 
d'     !-      I 

n      :—     11 


—     Id      :tai      ill 


Id      :tai      i: 


:r 


fe      :8 


:t. 


f       :r 


d      :  — 


II 


s       :n       11 


I'    =•    l^'  ■■'    I"   '-  I 


:d 


n      :r 


:ta,     11 


:t, 


d       :- 


d       :- 


-     Id'      :ta     II 


:r' 


d'      :t 


d'      :- 


sign  t  is  used  for  "sharp,"  and  \f  for  "flat."  A  sharp  bears  no 
relation  to  the  tone  below  it,  and  after  which,  for  convenience, 
it  is  named,  but  its  relation  is  to  the  tone  above  it.  It  is  to  the 
tone  above  it  the  same  that  t  is  to  d,  or  fe  to  i.  In  order  to 
strike  it  correctly,  sing  the  tone  above,  and  then  smoothly  de- 
Btend  a  little-step  to  it.  A  flat  beara  no  relation  to  the  tone 
above  it,  and  after  which  it  is  named.  Its  relation  in  to  the  ttm^ 
below  it,  to  which  it  is  the  same  as  f  to  m,  or  la  to  1.  To  pilch 
it  correctly,  in  the  cases  of  Gb,  AJj  and  Dtj,  we  should  sing  the 
tone  below,  and  then  rise  to  it  a  little-step.  In  the  Key  llo  take 
C  as  3,  and  sing  ■  f-  fd.     In  Key  Eb  take  C  as  1.  thus,  C'  -1 1  d'. 


w 


KIT  F. 

:d 

il.  CoBt 

(2.  As 
|3.  I 

:d 


d   :—  :n  Is   :—  :d' 


FOUBTH  STEP. 
C<        1  BACK,  SWEET  MAT. 


back, 
ev    -    - 
love 

come  back, 
'ry       sea   - 
the     gol    • 

Bwcet 

son 

den 

Mftjj, 

chang    •     • 
Bplen    -    • 

es, 
-  dor 

d   :- 

:d 

n  :- 

-  :n 

PI  :—  :  — 

d    :- 

s   :—  :—  1—  :n   :d 

And 
Each 
Of 


—  Id    :— :d 


f  :-  :f    |f_^    :f 

bid  the    flow    -     'retH 

bringii      some  pleas    •    ure 
gay  and    glo    •      rious 

r  :—  :  d  |t|  :—  :t| 


n  :—  : :    :d 


bloom, 

new. 

June, 


The/ 
Thro* 


9.  I        ( 


d  :  —  : m    Is    :  —  : d' 


birds 

sing 

on 

the 

spray, 

The 

whioh 

the 

fan 

-    -    cy 

rang    -    - 

-    es, 

As 

love 

the 

twi 

-    -    light 

ten    -     - 

-    der 

Of 

d  :- 

:d 

\m 

:—  :n 

PI  :—  :- 

-   d  :- 

-:d 

s    :—  :—  I—  :n   :d 


r    :—  :r    |r   ;n   :r 

skies        their   blue  re- 

pleas'd    and      change  •    ful 
Au    -     tumn's  har    -    -  vest 


S| 


:si    |si  :—  :s| 


A      . . 


Rume. 

too. 

moon. 

d   :- 


:m 

Once 
On 


:-  I      .      :d    ) 


f   :~ 

:f     r   :pi 

I        would 

:f 

be 

s    :—  :n 

id'  :- 

-ing 

:d' 

Thy 

d'  :t 

fresh 

:1      1   :s    :fe 

and      fra    -    grant 

s    :- 

more 

breath    -    - 

air; 

win    - 

-  try    nights 

we 

lis    ...    - 

ten 

To 

tales 

and     songs     of 

mirth, 

las  I 

that  oil 

such 

hours 

So 

soon 

should  pass       a    - 

way ! 

r   :  — 

:r      t|  :d 

:r 

n  :—  :d 

n  :  — 

:pi 

r    :  — 

-:r      d  :—  :d 

•ti  :- 

:d 

Oncei 
Whilei 

Fill, 

:d 


d    ; 

:n     s    :- 

I    would 

-  :d' 

be 

d'  :       :f    11    : 

wreath    -    -    -  ing 

-  :1 

Thy 

s    :m   :s     |f    :m 

:r 

my 

d    :-  : 

more 

bios    -    soms      in 

hair. 

joy    -    - 

lit    fa    -    - 

-  ces 

glis    -    -    -    -ten 

A   -  - 

round       the      so    -    - 

cial 

hearth. 

fill 

thy  lap 

with 

flow    ...    ers, 

Come 

back,         come  back. 

sweet 

May. 

d    :- 

:  d     tai :  - 

-  :tai 

1,    :—  :—    f,    :- 

■  :f 

m   :d    :si     1|    :  — 

:t, 

d    :~  : 

I       : 


Mxx  G.    Bound  in  three  porta. 


:8, 

d 

•  ... 
• 

It,       :t, 

li         :- 

Porta 

is, 

:f 

In 

lis 

:  m 

|r 

:r 

To 

Porta 

- 

moTith,    to 

-    month, 

It 

a 

gal    . 

•    lont 

\ 


II 


town. 


It, 


:r 

m    .f    :s 

!■ 

:8 

fe 

Sing 

der  -  ry    down. 

hey 

down 

der 

Is 


II 


-:    :d 

The/ 
Thro*' 

-:    :d) 


:n 

Once 
Ou 


.      :d   / 


:d 

Oncei 
Wbilei 
Fill, 

:d 


:r 

ant 


8 

"7- 


II 


KBY  A.    8  G.  B. 


FOURTH  STEP. 


THE  HONEY-BEE'S  SONG 


81 


S|  :d    :d   |d   :d    :d 


l.I    am 

2.  Up  in 

3.  No  i    - 

d,  :d| 


:p1i 

a 

tbe 
die 


PI)  :  PI)  :  Hi 

bon-ey  -  bee, 
morning— no 
mo-ments  bave 

d|  :d|   :d| 


t|  :r    :r 

ri   :f|   :f, 

buz -zing  a 

lug  -  gardb  are  we, 

we    tliro'  tbe  day, 

S|   :si   :S| 


|r    : 
Ifi    : 

way. 


S|  :d    :d   |d   :d    :d 


Pii  :  Pii 

Now  in 
Waking 
Summer 

d|  :d| 


:mi 

tbe 
tbe 
is 

:d, 


I  mi  :n,  :s, 

111  -  y   -  cup 
flow  •  ers    at 
fly  -  ing,  and 

d|  :d|   :mi 


t|    :r    :r 

S|    :t|    :t| 

drinkinfj    my 
dawning    of 
we    must  be 

S|   :S|   :S| 


s,  :  — 


r    : 

t,   : 
till, 

day, 
sure 


:r 


|r 
Ifi 


:r 


:r 


S|    :r 
fi    :f, 

O  -  vor    tbe    blos-soms  tbe 
Skimming  tbe  clo-ver  -  tops 
No    time  to      squander    in 

B|    :S|    :S|  |S|   :S|   :S| 


S| 


:r 


:r 


:d 


:t 


r 

t|   :t|    :t|    1 1|   :l|    :S| 

Now  wbere  tbe  ro  -  bob  bloom 
Ere  tbe  brigbt  sun  kiss    tbe 
Food  for  tbe       win-ter      at 

S|   :S|    :S|    |S|   :S|   :S| 


T.  F.  8«WAnn. 

d   :n    :n  |n  :—  :  — 

nil  :S|    :8|   |si  :—  :- 

long  sum -mer  day; 
ripe  for  tbe  bee; 
sleep  or      in       play; 

d|  :d|    :d|  jdi  :—  :- 


li'  :t|    :1|    |S|   : 
fei :  fei  :  fei  |  S|   : 

un-dcr  tbe  bill; 
dew-drops  a  -  way; 
once  to       Be  -  cure: 

r,  :r,    :ri   |S|   : 


S|  :si 
8|  :8, 

Gai-ly 
Gai-ly 
Bees  in 

S|  :si 


:s,  If    : 
:8|  Ir    :• 

we    fly, 
we    sing, 
a       bive, 

:si  |si  :■ 


:d 

■we 
wo 
a 

:8| 


r    : 

t.  :■ 

fly. 

sing, 
bive, 

8|  :- 


:n 
:d 

we 
we 
a 

:s, 


ir    : 
fly. 

Bing, 
hive, 

|8|  : 


:8, 
:8, 

My 

Ab 
Are 

:8| 


s,   :8,    :si   1 
S|   :si    :S|   I 

fei  -  lows  and 
on  -  ward  we 
up    and    a    - 

S|   :8,    :8,   I 


n  :- 

8|  :- 
I, 

wing, 
live, 

d,  :- 


:r 

:f| 

and 
we 
a  - 

:d, 


d   :— 

ni  :  — 
r. 

wing, 
live, 

d,  :- 


:r 

:fi 

and 
we 
a   - 

:d, 


n  :  — 

S|  :  — 
I; 

wing; 
live; 

d,  :- 


pi:n  :n   f  :- 

:f 

r  :r  :r    m  :-  :- 

d  :d  :d    r  :r  :r 

t|  :-  :- 

li:- 

:t, 

d  :-  : 

8,:8|  :si  111  :- 

:li 

t|  :t|  :t|    d  :-  :- 

S|  :S|  :Si    Ij  :1|  :1| 

li  :-  :- 

fi:- 

:fi 

ni:-  : 

daily     we    fly, 

My 

;«. '  -lows  and  I, 

Seeking  for  bon-ey    our 

bives 

to 

BUp- 

ply- 

Ctaily     we   sing. 

Ab 

on'\ard  we    wing, 

Back  to  tbe  bive  with  tbe 

treas    -    - 

ure 

we 

bring. 

Hees      in  a  bive 

Are 

up  and  a  -  live. 

La-zy   folics  never    can 

pros     -    - 

per 

and 

thrive. 

d|:d,  :d|   f|  :- 

:f| 

S|  :8|  :8|   d| :-  :- 

mi:mi:mi  f|  :f|  :f| 

Sj  :-  :- 

8|  :- 

:8| 

d|  :-  : 

_    •^     •  _ 


'—      —    •_    •_ 


*  Soprano,  Contralto,  Bue. 


II 
II 


Kzx  C.    Ghromatio  Fe. 

& 

8    .fe    :f     .P!    Ir 

Soh,    fe       fah,      me,    1  ray, 

:r 

r    .m    :i 

.8 

PI 

goes. 

t  ^^ 

d'   .d'     :t 

.1 

Wf 

That's  the    way 

it 

Now  we'll    try 

to 

8                 :8                   fe    .8 

geth    -    -    er                  Fe,    soh, 

:f    .8 

PI           :  — 

me. 

.8 

fe    .8 

:f 

.8 

n            : — 

fifth,     Boh, 

Yes, 

that's  the 

way 

it 

goes. 

ft 


in 


Si 


FOUBTfl  STEP. 


GOME  TO  THB  FOUNTAIN. 

UT  0.    S.  0.  B. 

J.  Wbiur. 

PI      ;m  .f  |8 

:d'.d' 

t       :1 

|8      :n 

r      :-.m  |f 

:f 

n 

:r 

m      •— 

d      :d  .r    n 

:n  .m 

8       :f 

In      :d 

t|     :-.d    r 

:r 

d 

:t, 

d      :- 

1.  Come,  come  away 

to    the 

pear  -  ly 

foun  -    tnin, 

Tis           the  morn 

-  ing 

hour 

that 

call*, 

2.  Come.comeaway 

while  the 

bella     ara 

ring    -   ing, 

In             the  gen    - 

tie 

wav  - 

ing 

wind, 

d      :d  .d  d 

:d  .d 

d      :d 

Id      :d 

s,      :-.8,  Is, 

:8, 

8| 

:8, 

Id      :- 

n  .f  ;8  .1   1 8       :d' 
d  .r  :n.f  |  n      :1 

Where  the      stream  -  let 
And      the      flower  -  boat 


t 

:1 

1       :s 

s 

:f 

If      :n 

from 

the 

monn  -  tain, 

now 

is 

bring  -  ing. 

1       :-  .1  |1_^  :f  .n 
f      :-  .f  |f  .m  ;r  .d 

To  its  mel    -    low 

Flow    -    •  ing  wreaths  our 

f      :-.fld       :d 


:s 


d      :- 


t|      :t| 

d 

mu   •   sio 

falls; 

brows  to 

bind; 

8)        :8| 

Id 

tl 

There 
From 


:-.n  |f      :f 
:-.d  ir      :r 

with  tin  -   bound 
the   spark  -  ling 

.8,   |8|       :S| 


m  .f  :8  .1   1 8 


d  .r  ;n.f 

tress  •  es 
wave    then 

d      :d 


:m 


I  m      :d 

wav    -    ing, 
bound  -  ing, 

Id      :d 


d'      :-.d'|t 


:8 


n  :-.n  |r  :t| 

Like           a     sil    -  •  ken 

Spir  •    -  its  fresh  as 

d  :-.d  |8|  :8| 


1       :fe      1^8      :~ 


d      :d 

fair    -  y 
mom-ing's 

r      :r 


It, 

soil, 
gale, 

I  8, 


61 


:r  .n  If      :r 


:t|.d 

Breez  -  es 
Hearts  light 

8,       :s, 


|r 

fun 
beai 

Is, 


:t, 

ning, 
ing, 

:s, 


n 
d 

wo 
Joy 

d 


!n.f 
;d  .r 

ters 
Bur    • 

:d 


|8       :m 
|n      :d 

lav    -    ing, 
round  -  ing, 

Id       :d 


1       :-.l   |8       :d' 
f      :-.f  |n      :d 

Health      and  joy, —   the 
Ah  I  what  bliss,— the 

t,      :-  .t,  |d       :1| 


d'      :t 


d' 


r      :r 

n 

Foun  -  tain 

hail. 

Foun  -  tain 

hail. 

8,      :8, 


d      :- 


Mtts.  S.  J.  Brioham. 
KEY  G.     S.  C.  B. 


CHIFFEKEE  CHEE. 


s    :f    :ni 
m  :r    :d 

1.  Cliipper-ce, 

2.  Cliipper-ee, 
\.  Chi[)per-ee, 

d   :d    :d 


js  :f  :pi 
In   :r    :d 

chip-per  -  ee, 
chip-per  -  ee, 
chip-per  -  ee, 

Id   :d   :d 


8    :f 


n  :r 

chipper 
chipper 
chipper  -  ee 

d  :d  :d 


:n 
:d 

ee 
ee 


js  : —  :  — 
!  n  :  —  :  — 

chee, 
chce, 
chee. 

Id  :— :— 


:s, 

:si 


s,  :8, 
s,  :8| 

Nev-er    were 
O    what  a 
0    fol-low 


n  :—  :n 


1 8]  : 

birds 

love 

me. 


:S| 

as 

■  ly 
o 


Si   :S|   :s.    Is,  : —  :8, 


r    :- 

fi  :- 

blithe 
Innch 
fol    - 

8,    :- 


T.  P.  Bewabd. 


:r 
:fi 


D.  0. 

d    :— :  — 


n,  :  — 

as  we, 
have  we; 
low  me; 

:si    Id  :  — 


FOUBTH  STEP. 


d   :d 

1.   :'ii 


:d 

:1| 


f 


:1| 


:f 


a  - 

ly 


Up 

Chil      - 
See,  with    a 


the 


bove  UB 
winds 
flut  -  ter  and 

|fi   :fi    :fi 


n  : —  :n 


:d 


8    :—- 

n   :  — 


gold 
Hura 
whirl 

d  :- 


en  Hun, 
nier  ruin 
they  go, 

:d   Id    :— :  — 


d    r-td 

Shin 

Nev 

Down 


f   :f    :f 

ning  bright  till  the 
er  blighted  our 
the   bnnk  to      the 

:f,    If,   :f,   :f, 


n   :—  :n 
d    :-:d 


s    :—  : 

In  :— :• 


dny  is      done; 

gold    -    -  en    grain; 
brook         be  -  low; 

d    :—  :d    Id  :—  :• 


1:1     :1 
d   :d    :d 


8    :8    :8 
d    :d   :d 


Down        be  -  low    iind    be- 
He  who     feed  -eth    ns 

Some  for    a        bath  nnd 

f   :f    :f    |n   :n  :m 


f    :- 

:f 

n  : 

ti   :- 

:t, 

d  : 

neath 

our 

feet, 

all 

BO 

well, 

Kome 

to 

drink. 

r    :-- 

:r 

d  : 

D.t. 
^1:1 

df   .f 


:1     Is    :8    :s 
:f    I  m  :  n   :n 


Shine        the      aheaves  of 

Knows    where  all  the 

Some  for  a        chat  by  the 

df   :f    :f    Is  :s  :s 


t   ;d'   :r' 
r  :n    :f 


d' 
In 


gold  -  an  wheat; 
Rpar  -  rowB  dwell; 
wa    -    .  ter's    brink; 

s   : —  :8|   jd    :- 


f  G. 


id's  :f    :n   js    :f    :m     s    :f    :m  js    :— :  — 


ipi  :r    :d    |  m  :r   :d 

Chipper  -  ee,    chipper  -  ee, 

fd  :d    :d    Id  :d    :d 


r.  :r    :d   j  n  i 

chipper  •  ee    chee, 

d  :d    :d   |d  : 


S|  :8,   :8|    In  :— :n   ir    :— :r    |d   :— :  — 


S|  :S|   :S|    |S|  :- 

Nev-er    were    birds 


BO 


S|  :S|    :S|    |S|  :—  is. 


f,   : —  :f|   I  n,  : —  : — 

blithe        as      we. 

S|   :—  :8|    |d|  :— :~ 


GENTLY  EVENING  BENDETH. 


( 


KEY  AtZ. 

Sweetty.    -== 

n      :n 

______ 

C.  H.  RiKK. 

r       :r 

d       :~ 

Is,     :- 

li 

:t,        d 

:n 

r       :— - 

1-       ! 

d      :d 

t,       :si 

S|      :  — 

|n,    :  — 

f| 

:fi         s, 

:d 

ti      :- 

1-       • 

1.  Gent-ly 

eve    -  'niug 

bend    -    - 

-    eth, 

0     - 

ver        viile 

and 

liill, 

i.  Save  the 

wood  -  brook's 

gUHh     -     -     ■ 

ing, 

All 

things  hi    - 

-  lent 

rest; 

t.  And   no 

eve    -    ning 

bring 

-   eth, 

To 

its         life 

re    - 

lease; 

1.  Ilest-lesB 

thus      life 

flow    -    - 

eth. 

Striv 

-  eth        in 

mv 

breast; 

d,      :nt 

s,       :f, 

n,     :  — 

d|     :- 

f| 

:r,        n. 

:di 

8,      :  — 

•>..»             • 

D.  0. 

j 

n      :n 

f 

:n 

r       :  — 

s 

• 
• 

d      :f 

n 

:r 

d       : 

• 

• 

( 

d      :d 

r 

:d 

t,      :- 

d 

:ta| 

1,      :r 

d 

:si 

m,      :- 

• 

• 

Soft    -  ly 

peace 

de     - 

Kcend 

-  eth. 

And     the 

world 

is 

Rtill. 

< 

Hear    its 

rest    - 

less 

rush 

-  ing, 

On      t'ward 

0     - 

-  cean's 

breast. 

; 

And     no 

sweet 

bell 

ring 

-  eth, 

O'er    its 

wave 

-  lets 

peace. 

( 

God     a    - 

-  lone 

be     - 

ntow 

-  eth 

Tran-qnil 

eve    - 

ning 

rest. 

• 

•  ■"*" 

d      :1| 

|r, 

:  n,  .f. 

8,      :f. 

n. 

• 

fi      :ri 

Is, 

:s. 

d,       :- 

^> 


IMAGE  EVALUATION 
TEST  TARGET  (MT-3) 


1.0    ^^  I 


I.I 


2.5 


1^ 


Hi  Hm 


[22 

1.8 


1.25    |||.4 

^ 

.4 6"     — 

► 

Photographic 

Sciences 

Corporation 


^3  WIST  MAIN  STREET 

WEBSTfiR.N.Y.  M5S0 

(716)  S72-4S03 


S. 


S^ 


\ 


\\ 


V 


6^ 


mm 


? 


.^. 


'A^ 


t 


04 


FOVBTH  STEP. 
ANYWHESE. 


KBX  EIZ. 

B.  0.  Un8kt,d. 

n      :n 

|8       :pii 

n 

:r        r       :  — 

f       :f 

Is 

:r 

m 

• 

d      :d 

m      :d 

d 

:t|       t|      :— - 

r       :r 

It, 

:t, 

d 

-     1-     : 

I.  A    -  ny 

lit    ■    tie 

cor 

-    ner,        Lord, 

In         thy 

vine  - 

yard 

wide 

• 

2.  Where  we       pitch     our 

night  -  ly           teut. 

Sure  -  ly 

mat   - 

ters 

not; 

3.  All      a 

long       the 

wU 

-    der    -     nesB, 

Let       ua 

keep 

our 

sight 

» 

s       :s 

s  *     :s 

S 

:s         s       :  — 

s       :s 

S 

:8 

8 

:-     1-     .- 

d      :d 

d       :d 

8| 

:S|        Si       :  — 

S|      :si 

Is, 

:s. 

d 

:-     1-     • 

s     :s 

|1     :s 

s     :n 

r      ; — 

r     :s       t     :1 

>     :- 

• 

8     :8     |1      :d' 

n    :n 

f     in 

n    :d 

ti    :- 

t|     :r 

r     :d 

t,     :- 

1-  : 

d     :d      d     :d 

Where  thou  bid'st  me    | 

work  for 

thee, 

There  I        would  a    - 

bide; 

Mir  -  a   -    cle        of 

If       the 

day      for 

thee  is 

spent. 

Bless -ed      is         the 

spot; 

Quickly        we       our 

On     the 

mov  -  ing 

pil  -  lar 

fixed, 

Con  -  stant  < 

lay      and 

night, 

Then  the     heart   will 

d'    :d' 

Id'    :d' 

d'    :s 

s     :  — 

s     :s 

s     :fe 

8     :  — 

1-   : 

PI    :pi      f     :1 

d     :d 

d     :d 

d     :d 

s,    :  — 

S|     :t| 

r     :r 

S|     :  — 

• 
• 

d     :d      f     :f 

d'    :1 

8—  :  — 

s     :s 

1      :d' 

di    :1 

s     :m 

s     :m 

|r     : 

Fi    :r      d     :  — 

d     :d 

d     : 

d    :d 

d     :d 

d     :d      d    :- 

n    :d 

t,    : 

— 

t|     :t|      d     :  — 

snv  -  ing 

grace, 

That  thou 

giv  -    est 

me     a 

phice 

A    -  ny  ■ 

■   where, 

A  -    ny  -   where. 

tent    may 

fold, 

Cheerful 

march  thro' 

storm  and 

cold, 

With  thy 

care, 

With  thy     care. 

make  its 

home, 

Will-ing, 

led       by 

thee,  to 

roam. 

A    -  ny 

-   where. 

A  -    ny  -   where. 

1     :f 

n    :— 

n    :n 

f     :1 

1      :f 

n    :s 

8     :s 

8     : 

— 

8     :f       n    :  — 

f     :f 

d     :-. 

d 

:d 

f     :f 

f     :f 

d    :  — 

d     :d 

8,     : 

S|     :8|      d     :  — 

KEY 


Elz. 


THE  LOVELY  LAND. 


:8 

:n 

1.  Tli«r« 

2.  Tbfre 

3.  SvMt 

:s 
:d 


:t 
:f 

a 
er 

fields  a 

8      :8 
d      :r 


n 

is 
ev 


|8 
land 
last 
mong 

is 
In 


:8 

:n 

of 

ing 

the 

:8 
:d 


1       :1 
d      :d 

pure    de 
spring  a    - 
swell  -  ing 

f      :f 
f      :f 


l_^t  :d' 
:d 


Id 

-  ligbt, 
bides, 
flood 

If 


Where 

And 

Stand 

:1 
:f 


8       ;s  .f 
n      ;n.r 

saints    im  - 
nev    -  er 
dressed  in 

d<      :8 
8      :8 


|m 

Id 

mor 
fad 
liv 

Is 


:r 

:t, 

-  tal 
ing 
ing 

:f 


si     :8| 


d      :  — 
d      :  — 

reign; 

flowers; 

green; 

n     :  — 
d      :  — 


R.  LowBT,  by  per 

-     I-    :8 


d' 
n 

fin 

like 

to 

8 


:t 
:f 

ite 

a 

the 

:s 
:r 


Id' 
Is 

day 
nar    • 
Jews 

Is 
in 


:8 
:n 

ex 

row 

old 

:8 
:d 


1       :1 
d       :d 

eludes  the 
sea,      di    - 
Ca    -  naan 

f       :f 
f       :f 


IJ  :d' 
Id       :d 

night.  And 
vides  This 
stood.  While 

|f^  :1 
If       :f 


S  18   .f 

n      :  n  .r 

l)leas  -  ures 
heaven-ly 
.Tor    -    dan 

d> 


8 


:8 
:8 


I  n 

Id 

ban    - 

land 

rolled 

|8 


:r 

:t, 

ish 
from 
be    • 

:f 


8i      :8| 


d  : 

d  : 

pain; 
ours; 
tween; 

n  : 

d  : 


:d' 
:d 

of 

onr 
will 

:1 
:f 


FOURTH   STEP. 


86 


8 

:-.n  |1 

:8 

n 

:r 

Id 

:r 

m      :d'.,d'  t  .1  :s  .fe 

8 

m 

:-.d    f 

:m 

d 

:t, 

d 

:t, 

d       :n.,m  r      :r 

r 

Oh! 

the  land, 

the 

love 

-  ly 

land, 

The 

land     o  -  ver  Jor   -    dan's 

foam; 

S 

:-.s     d' 

:d<.s 

8 

:f 

n 

:s 

8       :8  .,8    8      :t  .1 

t 

d 

:-.d    d 

:d 

S| 

:s, 

d 

:8, 

d      :d.,d    r      :r 

8| 

'-  I- 


:8  .8 
:m.m 

On  the] 

:d'.d' 
:d.d 


d' 

:t 

Id' 

•  8  •)8 

1  .1   :1   .1     1  .t  :d' 

8 

:8  .,f    n 

:r 

d 

n 

:f 

8 

:pi.,n 

d  .d  :d  .d    d       :d 

m 

:n.,r    d 

:t, 

d 

gold 

-  en 

strand, 

Wait  the 

happy,  happy     band,      To 

wel  ■ 

■  come  the  ran 

-  somed 

home 

S 

:8 

|8 

:d'.,d' 

d'.d'  :d'.d'    d'.t  :d' 

8 

•  S  1)8      8 

:f 

m 

d 

:r 

n 

:d  ..d 

f  .f  :f  .f   If       :f 

8 

:s  .,8    S| 

:8, 

d 

-    I- 


< 


KEY  A. 

S|  .,8|  :n       :-  .r 
pii.,pii:S|       :-  .f| 

1 .  May  io  here,  the 

'2.  Birds,  thro' ev'    -    ry 
15.  Earth  to  heaven     lifts 

d  .,d  :d       :-  .d 
d|.,d|  :d|      :-  .d| 


MAY  IS  HERE. 


d  .ni:l| 

:si 

S|  .,S| :1|       :t| 

pii.ni:f| 

:mi 

S|  .,S|:fei      :f| 

worUl  rejoic 

-     es. 

Earth  puts  on       her 

thicket  call 

-     ing, 

Wake  the  woods  to 

up   her  voic 

-    es. 

Sky,  and  fields,    and 

d  .d  :d 

:d 

t|  .,t|:d        :r 

d|  .d|  :d| 

:d, 

S|  .,S|  :S|        :S| 

d  .,r  :rn 

mi.,f|:S| 


:d 


:ni 

smiles  to  greet     her, 
sounds  of  glad  -  ness, 
woods,  and  riv  -  er, 

d  .,d  :d        :d 
d  .,d  :d        :d 


S|  .,S|  :n       :-  .r 
n|.,pii:S|       :-  .f| 

Grove  and  field  lift 

Hark!  the  long  -   drawn 
With  their  heart     our 

d  .,d  :d       :-  .d 
d|.,d|  :d|       :-  .d| 


d.,mi:l| 

:8| 

S|  .,Si  :1| 

:t, 

d  .,r  :n 

:d 

1  .,s  :r        :— 

f.,n:d       :  — 

mi.,mi:f| 

:pi, 

S|  .,S|  :fei 

:f 

mi.,f|  :si 

:mi 

t|  .^tj  ! t|           I 

d.,d:d       : 

up  their  voic 

-  es. 

Leaf  and  tiowers  come 

forth  to  meet 

her, 

Ihqipy   May, 

blithcKome  May, 

notes  are  fall 

-   ing. 

Sad,  but  ideas 

-  ant 

in     their  sad 

-  ness. 

Happy  May, 

blithesome  May,  Ac 

heart  re-joic 

-    es. 

For  his  gifts 

we 

praise  the  Giv 

-  er, 

Happy  May, 

blithesome  May,  &c 

d.,d  :d 

:d 

t|  .,t|  :d 

:r 

d  .,d  :d 

:d 

r  .,r  :f        :— 

d  .,d  :pi       :  — 

d|.,d|:d, 

:d. 

8|  .,8)  :S| 

:s, 

d  .,d  :d 

:d 

S|  .,S|  :8|       :  — 

d.,d:d       :  — 

m.,r:l|      :t| 
8|.,f,:f,      :f, 

Winter's  reign  has 

8  .,8  :r      :r 

8|i,8|:8|     :B| 


d.,r  :in :J_ 

ni.,f(:8|     :  — 

passed  away, 

d.,d;d     ;r 
d.,d:d     :  — 


1  .,8:r 

t|,,t|:t| 

Uappy  May, 

r  .,r  :f 

8|.,8|:8| 


f.,n:d      :— 
d.,d:d      :— 

blithesome  May, 

d.,d5ni      :— 
d.,d:d      :-- 


m.,Y:\\      :t| 
8|.,f,:f,      :f, 

Winter's  reign  has 

s.,8:r      :r 
8|.,:i:8      :8| 


d.,ni:d 

ni.,S| :  Hi 

passed  away. 

d.,d:d 
d|.,d|:d| 


wmnmm 


wsmmmim 


86 


FOURTH  STEP. 


Kbi  F.    M.  120. 


ONWARD   CHRISTIAN  SOLDIERS. 


s     :s     js     :s 

8     :-.l    s     :— 

n     :n      n    :n 

1.  On  -  wfwd  Chris  -  tian 

2.  On  -  ward  then    ye 

d     :pi      s     :d' 

f     :-     f     :- 

Kol     -     -     diers, 
liiith    -    -    ful, 

d'    :-     t     : 

d     :d      d     :d 

r     :—     s,    :  — 

r     :r 

d 

:r 

n     :  — 

t|     :t. 

Marching 
Joiu    our 

as 
hap 

:t, 

to 

-  py 

d     : 

war, 
ihrong, 

s     :s 

S 

:s 

s      :  — 

s     :f 

n 

:r 

d     :- 

d' 


r     :  — 

Je    -    .    - 

voi     -     - 

s     :  -.1 


t 
r 

sua 
ces 

S 

r 


1 

:1 

PI 

:fe 

s     : 

d 

:d 

d 

:d 

t,    : 

Go 

-  ing 

on 

be   - 

lore, 

In 

the 

tri 

-    uuiph 

Kong ; 

fe 

:fe 

S 

:1 

s     : 

r 

:r 

ri 

:r. 

s,    : 

s     :s 

di    :s 

1     : 

d     :d 

d     :d 

d    : 

Leads  a    - 

gainst  the 

toe ; 

Uu  -  to 

Christ  the 

King ; 

n    :n 

s     :n 

f     : 

d    :d 

1  n    :d 

f     : 

1      :s       f     :s 

1 

:s 

d     :d       d     :d 

d 

• 

For  -  ward     in  -   to 

hat 

. 

This,  through  count-less 

a 

. 

f     :m      f     :n 

f 

:m 

f     :d       1,    :d 

f 

:d 

A.  S.  Sullivan,  Mub.  Doc, 

d     :m     Is     :d' 
d     :d     Id      d 

With  the      cross   of 
Blend  wiih    ours    your 

s      :s      js     :m 
n     :n     In    :pi 


r     :r 

s     :r 

n     :-.f  n 

t,     :t. 

r     :t| 

d     :-.r  d 

Christ,  the 

Koy  -  al 

Mas     -    -     ter, 

Glo  -  ry, 

laud    and 

hon     -     -    or 

s     :s 

s      :s 

s     :—   Is 

s,     :si 

ti     :s. 

d     :—    Id 

:s 


d     :- 

tie, 
ges, 

f     :n 


1,     :d 


1      :s 

If     :n 

d     :d 

r     :d 

See      his 

ban  -  ners 

Men    ami 

an  ••  gels 

f      :m 

r     :r 

fi     :fi 

fi     :f. 

r       :  — 

t,      :- 

How. 


S 

8| 


m    : — 

S|     :  — 

war, 
war, 

m    :  — 
d     :— 


1- 


d 

:d        d 

:d 

d 

:t| . 

li    t. 

d 

r 

:r 

r 

:d  .r 

On 

:s,        s,       :S| 

-   ward      Chris  -  tian 

sol 

•  —^ 

S| 
-    dier, 

• 

s,       :s, 

March  -  ing 

as 

:s, 

to 

On 

-   ward      Chris  -  tian 

sol 

-      _      - 

-    dier, 

March  -  ing 

as 

to 

n 

:pi        n      :p] 

f 

•  »_ 

f 

» 
■ 

f       :f 

f 

:f 

d 

:S|        d      :s. 

r 

:s. 

r 

:s. 

t,       :s, 

t| 

:S| 

s     :s 

d'    :t 

d'    : 

s 

• 
t 

f     :m 

r 

:-.d 

d 

•  

m    :n 

With  the 
With  the 

f     :f 

cross  of 
cross   of 

n     :— 

.fe    -    -    - 
.fe    -    -    - 

d 

BUS 
BUS 

• 

d     :d 

Go  -  ing 
Go  -  ing 

t, 

on 
on 

:-.d 

be- 
be- 

d 

fore, 
fore. 

•      — 
• 

• 

d'    :d' 

s     :s 

s     :— 

s 

• 
• 

1      :s 

!f 

:-.n 

m 

• 

• 

d 

:d 

r    :r 

n    :— 

In, 

• 
• 

fi     :fi 

8| 

:-.S| 

d 

• 

rlUS.  DOO, 

Is     :d> 
Id 


your  ( 

:n     » 


cross 
oura 

In 


FOURTH  STEP. 
PATHEB  OF  MERCIES. 


Beknabd  Schmidt. 


d    :-.d  t|    :d 

r    :—  d   : 

B.  t.  cres. 

»d  :—    d    :r 

n  :—  f    :1, 

d    :-.S|  S|    :S| 

When  the  day   is 

t|    :—   d   : 

dawn    •    ing, 

df,  :—    S|   :si 

Then         will    I 

s,    :1,     1,    :f, 

pny             my 

n    :-.n  r    :m 

f    :—   m  : 

"li  :—    d    :t| 

d    :—   r    :  — 

S|    :-.s  S|   :si 

S|    :—   d  : 

df|  :—    n,  :si 

d    :1,     f,    :- 

|n    :  — 

Id     :— 

ter, 
or 

s      :  — 
d     :  — 


S|  :- 
pii  :  — 

vows 

r  :d 


It, 
Is, 

to 

Ir 


S|  :— |s,    :— 


h   :  — 
8.r  : — 

thee. 

"t  :  — 
d.S| :— I 


:f 
:r 

Like 

:s 

:t, 


^p 

:r=— 

m   :  — 

s    :f 

n  :- 

-    n   :  — 

r    :-.r|d    :d 

d    : 

t|  :s 

d    :  — 

Id  :- 

d   :- 

-   1,    :- 

t,  :-.t|  d   :1| 

Si   :  — 

s,  :t| 

in    -    - 

cense 

waft 

.     ed 

on      the  breath  of 

mom    - 

ing    Sly 

s    :  — 

ta:l 

s    :- 

-    fe  : 

s    :-.s    n   :r 

m   :  — 

r    :f 

d    : 

d   : 

d  :- 

-   d    :- 

t|  :-.t,  1,   :fe, 

s,   : 

s,  :r 

t 

:n 

r 

:d 

ban 

-  ners 

an  • 

gels 

r 

:r 

fi 

:f| 

cres. 

s  :— Is    : — 
d  :—  \n    !— 

heart  -    felt 

n  :— Id'   :  — 
d  :— Id    :  — 


8    : :f 

n    :—   r    :  — 

d 

n  : :r 

d    :—  t,    :  — 

d 

praise               to 

heaven     shall 

be 

ta  :  —  —  :  1 

s     :—  s    :f 

PI 

PI  :—  —  :f 

s     :—  Si  :  — 

d 

f.  A.    «= 

dsi   :— 
i.pii  :  — 

Yes, 


!S|    :S| 
I  pii  :  pii 

thou  art 


1,    : 

f,    : 

near 


s,   : 

|m,  : 

me, 


:a  .r  \ 

to      (             \ 

PI  :d    1,  :t| 

1,   :- 

si  :- 

•  • 

•  • 

• 
• 

• 
• 

s,  :pi,  f|  :f, 

f,  :- 

pii  :- 

"".Sj :-    S|  :S| 

li  :- 

s,  :- 

to        f                ] 

Sleep  -  ing    or 

wak    - 

ing, 

still    doth    thy 

care 

un    - 

ti    \ 

•                • 

• 
• 

• 
f 

PI :-    PI  :n 

f  :- 

PI  :- 

m    '         ^ 

•  • 

•  • 

• 
• 

• 
• 

•  • 

•  • 

t 
t 

• 
• 

• 
• 

• 
• 

n 

:d   1, 

:t 

oh 

luged  re 

- 

s 

:pi  If 

• 

d  :- 

main. 

PI  :- 


•Js 

:  PI 
If 

:di 

:d 


s    ;1   It   :d'  \ 

m  :-  |n  :pi 

ev      -      er     I 

d'  :-  |s   :s 
d  :-  In  :n 


d> 
f 

w 
S 


iin 


-  It  :.l 

-  If  :.f 

der,  thy 

-  js  :  .r 

-  Ir  :  .tl 


s  :1    It    :d> 


n  :- 

ways 

n  :- 
d  :- 


|n  :- 

for    -    - 

Is    :- 
im  :- 


d'  :- 
f    :- 

snk    - 

8    :- 

r   :- 


It  :1 
If  :r 

ing,  O 

Is  :f 

|r:t, 


^ 


n  : 

lead 

n  : 


|pi  : 
Id  : 


me 

Is 


d  :-  Id  : 


dim. 

s   :-  |n  :- 
r  :-  Id  :- 

gent    -  ly 

8  :-  Id   :- 

t,  :-  Id   :- 


d 

back 
PI 


-  |r 

-  It, 

a 

-  If 

-  |8, 


d 


gain 

m 


_    I 


^•mim 


68 


FOUBTH   STEP. 


Fanmie  Cbosby 
ketG.    . 

m 

S| 

rail! 
now 
'11 

d 
d 


HURRAH  FOR  THE  SLEIGH  BELLS  1 


Hi 

11.  Hur- 
('2.  Oh! 
/3.  We  - 

Ld 
,d 


:n 


.n  ,f 

.St  ,1|  :  S| 

for  the  Rleigh 
is    tlie  time 
sing  with  the 

.d  ,d  :d 
.d  ,d  :d 


•  r 

bells, 

for 

bells 

.d 
.d 


.d 


>  p\\ 

here     we 
miHh   and 
in       choras 

Id      .d 
Id      .d 


:s, 

1| 

.li  ,d  :t| 

:m, 

fi 

.fi  ,f|  :f| 

go. 

Jing. 

jingle,  jing, 

glee, 

Jing, 

jingle,  jing. 

sweet, 

Jing, 

jingle,  jing, 

:d 

d 

.f  ,f  :r 

:d 

fl 

.fi  ,f|  :s, 

.t  ,r 
.fi  ,fi 

jmgle, 
jingle, 

jingle. 

.r  ,ti 

•Sj  ,S| 


n, 

jing, 
jing, 
jing. 

d 
d 


F.  Seward. 


.3 

•S| 

jing, 
jing, 
jing, 

.m 
.d 


:s 

.8| 

:s, 

.  Di 

jmg; 

A    - 

Jing; 

And 

Jing; 

We'U 

:m 

.d 

:d 

.d 

\ 


wny 
yon 
sing 

d 


.n  ,f   :m  .r 

.S|   ,1|    5  8|  .f| 

o'er  the  white  and 

der  an  -  oth    -  er 

till   we    reach  the 

.d  ,d  :d  .d 

.d  ,d  :d  .d 


|r         d 
|fi       .mi 

drift  -  ing 
sleigh  we 
vil      -     lage 

Id       .d 
Id       .d 


SOLO. 

s       .s  ,f 

stars  are 
up  the 
hnp  -  py 


•  r 


:n 

beam  -  ing 
steeds  just 
sleigh -ing 


Id 

bright, 

here, 

time. 


Inst;  or  may  be  sung  with  voices  to  la. 

.  *.n     :         .  f      I        .  rn 
.".d     :         .r  .d 


».d 


.r 

.3 


.s 


:si 
:mi 

snow, 

see, 

street, 

:d 
:d 


S| 


.d' 

The 

With- 

We 


n 

.n 

d 

.d 

s 

.3 

ll 

fl 

Jing, 
Jing, 
Jing, 

d 

f| 


.li,d 
.fl  ,f| 

jingle, 
jingle, 
jingle, 

.f  ,f 
.fl  ,f| 


:t, 
:f| 

jing, 
jing, 
jing, 

:r 


:si 


d'     .1  ,t  :d' 


night    is 
in         this 
hail      it 

.f 

.d 
.1 


cold 
ru    • 
with 


.t,  ,r 

fi,fi 

jingle, 
jingle, 
jingle, 

.r  ,t| 
.  S|  ,S| 


.1 

and 

ral 

de 

.f 

.d 
.1 


I  nil 

jing. 
jing. 
jing. 

Id 
Id 


i-s 

clear, 

dell. 

light. 


.n 
.d 

.3 


m 
d 
s 


s 

down 
want 
who 


f.  G. 


3  ,f   :m 


the 

to 

would 

.n 
.d 


rug    • 

join 

mind 


•  r 

ged 

us, 

the 

.f 

.r 

.3 


Id 

hills 

let 

win 


.d' 

we 

them 

ter's 

.n 
.d 

.3 


:d' 

glide, 
come, 
cold, 

PI 

d 

3 


.d3, 

n 

.n,f  :n      .r 

jr 

.d 

:8, 

.^.nii 

Sl 

.S|,l|  :S|      .f| 

|fi 

.  V\\ 

:mi 

Hur  - 

rah 

.  for  the  sleigh    bellsl 

here 

we 

go. 

.<d 

d 

.d  ,d  :d      .d 

Id 

.d 

:d 

.<d 

d 

.d  ,d  :d      .d 

Id 

.d 

:d 

.3 

And 

We 

On 


1 

Ring 

know 

such 


.1      1 

t 

.t 

d' 

with 

mer 

-    ry 

cheer 

the 

par 

■    ty 

well. 

a 

joy    ■ 

ous 

night. 

.f 

.f 

n 

.d 

•  r 

d 

.1 

.3 

3 

• 

S| 

• 

Id 

li      .l|,d  :t| 
fi     .fi»fi  :fi 

Jing,  jingle,  jing, 

d     .f,f  :r 
fi     .f|,f|  :8| 


.t|,r  |d 
.fi,fi  I  mi 

jingle,    jing, 

.r  ,t,  Id 

.  8|  ,8|  I  d 


.8| 
jing. 

.m 
.d 


:8 

:8| 

jing. 

.m 
:d 


.8| 

•  Pli 
A    • 

.d 
.d 


p.  Sewabd. 

/CS 

:s 

.8) 

:si 

.n, 

Jing; 

A    - 

jmg; 

And 

jing; 

We'U 

:m 

.d 

:d 

.d 

.8| 

•  P1| 
A    • 

.d 
.d 


; 


n  .Pi,f:n    .r     |r    .d    :S| 

S|  •S|,1|:S|    .f|    I  f I   .pii  :ni 

way  o'er  the  white  and  drift-ing    snow. 

d   .d,d:d    .d    \d  .d    :d 
d   .d,d:d    .d    jd   .d    :d 


FOURTH  STEP. 

li   .l|,d:ti   .t|,r|d 
fi   .f|,f|:f|    .fi,f||mi 

Jing,  jingle,  jing,  jingle,  jing. 

d   .f,f:r    .r,t,|d 

fi   .f|,f|:8|   .S|,St|d 

CHIME  AGAIN. 


89 


:—  .r,r 

: —  .t|,t| 

Jingle, 

:—  .S|,S| 


n,m.r,r:m  .8     jd 
d,d.t|,t|:d   .t|    |d 

jingle,  jingle,  jing,  jing,  jing. 

8,8  .8,8  : 8    .r    |n 
d,d.S|,8|:d   .8|    |d 


KEY  M[£ 

H.  R.  Bishop. 

n     :-.r  :d 

n    :-. 

r  :d 

f      :1. 

:t, 

d      : 

• 
• 

d 

:-.t|:l| 

S|      :- 

d  :r      \ 

S|      :-.f|:mi 

s,     :-•. 

Si:S| 

li      :f. 

:fi 

n,    :  — 

t 
• 

li 

:-.S|  !f| 

ni    :-. 

S|:S|      / 

1.  Chime    a  -  gain. 

chime 

a  -  gain, 

beau  -  ti    - 

ful 

bells. 

Now 

your  soft 

mel     - 

o  -  dy        > 

2.  Chime    a  -  gain. 

chime 

a  -  gain. 

beau  -  ti     - 

ful 

bells. 

Lin 

-      ger    a    - 

while 

o'er  the     V 

d      :-.d:d 

d     :-. 

t,:d 

d     :r 

:r 

d      : 

• 
• 

d 

:-.d  :d 

d      :-. 

d  :tt      1 

d|     :-.d|:d| 

d|    :-, 

ri  :ni 

:s, 

d,     :- 

• 
• 

f| 

:-.f,:f, 

d|     :-. 

n,:8, 

n     :-.r  :d 

r     :  — 

• 
• 

n     :-.r 

:d 

tn     :-.r 

:d 

f 

:li      :t| 

d      :- 

• 

S|      :-.8|:fei" 

S|    :  — 

t 
• 

s,     :-.f| 

:p1i 

S|     :-.s 

:s, 

li 

:fi      :fi 

n,     :  — 

: 

float          on  the 

wind, 

]5urst-ing 

at 

in    -    ter    - 

vals 

ov    - 

er          the 

sailK, 

/ 

D.  S. 

Voi  -'  ces 

of 

friend-ship 

still 

ring 

in          each 

sound. 

^   ( 

deep          dusk-y 

bay, 

Fiiint-er 

and 

faint  -  er 

your 

mcl 

-  o      -      dy 

swells 

} 

1 

D.  S. 

Lone  -  Iv 

I'm 

left       on 

the 

wa   - 

ters        to 

weep, 

\ 

d      r-.r  :r 

t.    :- 

« 
• 

d     :-.d 

:d 

d     :-.t 

:d 

d 

:r       :r 

d      : 

:         ! 

d      :-.t|:l| 

8|     :  — 

t 
• 

d|     :-.d 

:d, 

d|     :-.r 

:mi 

f, 

:f,      :s, 

d,      :- 

FINE. 

E2.  t. 

d      :-.t|:li 

8i     :d 

:r 

m     :f 

:-.r 

d      : 

• 
• 

^S 

:s       :s 

1       :s 

:s      . 

li      :-.S|:f| 

m,    :si 

:1, 

s,      :s, 

:-.f, 

m,    :  — 

• 
• 

t.n 

:m      :m 

f      :m 

:n      j 

Leav    -    ing  a 

train  of 

af    - 

fee  -  tion 

be- 

hind. 

An   - 

Bwer  -  ing 

ech  -  oes 

that     / 

Bid     -     ding  me 

wel  -  come    that 

chime  with 

a 

tear. 

Fast          fades  the 

laud    and      your 

sound  dies 

a- 

way. 

Now 

the      cold 

lamp  of 

night  ( 

Chimes     of     those 

beau  -  ti 

-    fill 

bells    to 

de- 

plore. 

\ 

d     :-.d:d 

d     :d 

:d 

d      :r 

:-.t| 

d      :  — 

• 
• 

8d' 

:d'     :d' 

d'     :d' 

:d'      / 

fi      :-.fi:fi 

d|     :ni 

:fi 

8,     :s, 

:-.S| 

d,     :- 

t 
• 

«d 

:d     :d 
/ 

d     :d 
a!?. 

:d 

D.  S. 

8      :i      :r 

d     :- 

• 

8      :8 

:s 

1       :8 

:s  .8 

8 

:-.l  :t 

d's    : — 

• 
• 

n     :r      :t| 

d     :- 

t 

d      :d 

:d 

d      :  — 

:d.^d 

d 

:-.d  :r 

"t|    :— 

• 
• 

gath  -  er         a    - 

round, 

, 

Call     from 

the 

heart 

every 

wish 

that  is 

dear, 

sil    -    vers      the 

deep. 

On      sails 

the 

bark 

from 

this 

hap-py 

shore, 

d'     :8      :f 

n     :  — 

• 
• 

n     :n 

!P1 

f      :m 

:m.in 

n 

:-.f  :f 

•r     :— 

• 
• 

■i     :>i     :t| 

d     :- 

« 

■9 

d      :d 

:d 

d      :- 

:d.d 

d 

:-.f  :r 

«i8,    :- 

• 
t 

■Ill  iimuiiuR'T* 


"^^^^^'^'^msfmmm 


90 


KZT  EtZ.     li  100  twice. 

d  : — : — |r  :d  :r 

Rise,  Cyn  -  thia, 


F0X7BTH   STEP. 


RISE,  CYNTHIA,  RISE. 


n  : — :- 

nee. 


d' :—  :  s  I  d' : — :  s 

tip    -    toe  stands      To 

PI :— jn  In  : — :d 


s  :— :d'  Is 


:s 


tip    -    toe  stands     To 


:d  Id:- 


n 


view 

d  :- 
s  :— 

view 

n:— 


:s 

thy 

:d 
:s 

thy 


s  :— :8 

smil  -   ing 

t| :— :d 


n  :-.f:r  In  :— :d 

Phoebus  on  fleet  -  est 

sd  :-.r:t|  |d  :— :S| 


n  : — :s 

coura  -  ers 

d  :— :n 


t  ;pi  :r  i  ^s  : — 

all         his  '.ace. 

S|  :— :f|  |".t|: — 
r  ;d  :t||<^8  :— 

all         his  race. 


81  :— :s,  r^si 
d  :-:— |r 

ah!  in 


Eb-D.C.  j^ 
8 

Th« 

n 
1 

The 
ll 


d,H.  ? — 


s  ;f  :8 

rir  -  cling 

njr  :n 
1  :-:l 

cir  -  cling 


! — : — 

pi:— :r    d 

:— :r 

Then 

pit    -    -    -y, 

•  • 

•  • 

:    :8, 

•           • 

•  • 

•  • 

:     :     1 

•  • 

•  • 

n  : —  : 

Rise, 

d  :-: 


-If  ;n  :f 

Cyn  -  tliia, 

—  |r  :d  :r 


8   :— :— I — :— :s 

rise,  The 

n  :— :— |— :— :d 
:     :d' 

The 

:     :m 


8  :f  :n  pi  : 

ing 


smil 


:d 


face. 

d  :- 


jr  :— : 
It,  :-: 


PI  :— :s 

borne,  Sees 

d  :-:d 

:     :tpi 

Sees 

:     :8d 


1  :— :s 

hours    that 

f  :— :pi 

I  :-:l 

honrs    that 

II  :-:li 


•     • —  1^^  • —  • 

face. 

8| :— :— |  — :— : 
3  :— :n  |pi  : — :s 

none     so    fair         in 

d  :— :S|  |8|  :— :8| 
PI  :— :d  |d  :— :pi 

none      so   fair         in 

d  :— :d|!d|  :— :di 


b!?.  t. 
"d  :-.r:t| 

Phoebus  on 


f  :— :n  |f  :— :f 

stay        be-hind  Would 

r  :— :de|r  :— :r 
1   :— :1   11  :— :8 

stay        be-hind  Would 

r  :— :1|  |r  :— :8| 


f  :m  :r 

all         his 

S| : — :S| 
r  ;d  :t| 

all         his 

8|: —  :8| 
f  ;pi  :f 

draw    fresh 

r  :de :  r 


n  : — : — |f 

ah!  in 

d  :— :— |r 


8  :— : 

draw    fresh 

8|  :— :8| 


:f 


pit 

n 


—  :r 


d  :— :8| 

fleet  -  est 


8  :— :f 

beau  -  ties 

PI  :— :r 
8  : — :8 

beau  -  ties 

S|  :— :8| 


Hook. 

1    :— :8  jl  :— :t 

rud    -    dy  mom      on 

d    -:d  Id  :— :f 
d'  :— :d'|d':— :s 

rud    -    dy  mom      on 

f  :— :pi  If  :— :r 


d:— 

cours  ■ 


n  |d  :— :- 

ers  borne, 


PI  :- 

-:8 

race. 

Sees 

8,  :- 

-:d 

d  :- 

-:pi 

race. 

Sees 

d  :- 

-:d 

n 

:— :8 

y. 

In 

d 

:-:d 

:    :d> 

In 

i     :m 

8   :— :m  |m  : — :s 

none      so    fair         in 

d  :— :8|  |S|  :— :8| 
PI  :— :d  |d  : — :m 

none      so    fair  in 

d  :— :d||d| :— :d| 


PI  : — :r  |n  :— :8| 

from    thine  eye;    Then 

d  ;— :t|  |d  :— : 

S    '"^  •  8    I S   •*""  • 
from    thine  eye; 

d  :— :8|  |d  :— : 


1  :--:s   |1  :— :t 

pit     -    7     to         mnn- 


—  :d    d  : — :s   |f  :--:r 
d':— :d'|d':— :8 


pit     -    y     to 

f  :— :n  If 


man- 


Hook. 

11  :-:t 

mom      on 

Id  :— :f 

jd':— :s 

mom      on 

If  :-:r 


jd  :— :- 

borne, 


[n  : — :s 

fair         in 

S|  :— :S| 
d  :— :m 

fair  in 

d| :— :d| 


|n  :— :S| 

5  eye;    Then 


8«       • 


J  eye; 

d:- 

• 

11  :- 

-Jt 

to 

man 

If  :- 

-:r 

Id':- 

-:s 

to 

man 

If  r- 

-:f 

d': 

1- 

:-:d' 

kind, 

No 

d  : 

: — 

l~ 

:-:d 

s  :— 

; — 

1- 

:— :8 

kind, 

No 

n  :— 

: — 

— 

:— :n 

d':— 18  |s  :— 

long  -    er  wrapped 

d  :—  :  m  I  n  :— 

s  :— :di|d':— 

long  -    er  wrapped 

n  :— : d  Id  :— 


n 

in 


S 

in 

d 


FOURTH  STEP. 

r  ;pi  :f  |n  :- 

vis    -    ioQR  lie, 

t|  :d  :r   Id  :- 


s  : 

vis 

s  : 


:s   |s  :■ 

ions  lie, 

:si  Id  :- 


:d' 

No 

:d 
:s 

No 


d':— :8  |8  :—  :n 

long  -    er  wrapped   in 

d  :—  :  n  I  n  :—  :  d 
8  :—  :d'  Id'  :--:8 

long  -    er  wrapped    in 


n:— :d  Id 


:d 


n 

D.  & 

f  :n  :r  |d   :— 

vis    -    ions  lie. 

r_jd  :t|  |d  :- 
s    :— :  f  1  PI  :- 

vis    -    ions  lie. 

8    :— :si  Id  :—  P 


KEY  C.     M.  120, 


WITH  THE  ROSY  LIGHT. 


8 

n 


:d' 


:n 

ros    -    y 
wood -Ian  (1 

d'     :d' 


|r' 
If 

Ugbt 


:n 


:d  .did      :d       |d 


8 

of 
streams  we'll 

Id'     :d' 
:d 


f     :1 
1      :f 

mom-ing, 
wan  -  der, 

d'     :d' 
f      :f 


T.  F,  Sewam). 

I—    :1  .1  11  .8  :s  .1  It      :d'.r'In'.d':d'.r'|n'     :m.f 


:f  .f 

Where  the 
Till      the 

-  :d'.d' 

-  :f  .f 


f.f:f.f|f      :n.f 

merry  birds  awake,  And  the 
merry  bird  has  gone  To     its 

t  .t  :t  .d'lr'     rd'.d' 
s  .8  :8  .8  Is      :d  .d  I 


s  .n:m  .f  |s       :d  .r 

langhing  waters  flow.  We  will( 
quiet  leaf-y    nest,     Andthe^ 

d'.d':d'.d'|d'      :d'.d' 
d  .d  :d.d  Id      :d.d 


8 


:d' 


:n 


n      :n 

haste  with 
gold  -  en 

d'      :d' 
d       :d 


|r' 

If       :8 

joy        and 

sun  -  beams 

Id'      :di 

Id  :d 


f      :1 
1       :f 

glad  -  ness, 
dy    -  ing, 

d'      :d' 
f       :f 


:1   .1 
:f  .f 

Singing 
Gently 

:d'  .d' 


1  .8  :8  .1  It 
f  .f  :f  .f  If 

gayly    as  we    go, 
linger   in  the  west, 

t  .t  :t  .d'lr' 


FINE. 


:f  .f  Is  .8  :s  .8 


8 


:d'.r'|d' 
:n  .f 

as    we 
in  the 

:8  .8 
:8  .8 


n 

go- 
west. 

8 

d 


f  .r  :r  .n  |f       :8  .f 

r  .t|  :t|  .d  |r       :n  .r 

carol    to  the  breeze,  Where  the 
fairies  tripping  light.  To  the 

s  .8  :s  .8   Is       :s  .s 

S|  .S|  :S|.S|  |si      :si  .Sf 


n      :S|  .d  I  n      :f  .n  * 

d      :S|  .8|  I  S|      :si  .S| 

old    for  -  est  trees  Wave  their 
fields  say  good-night,  With  a 

8       :m  .n  |s       :s  .s 
d      :d  .d  I  d      :d  .d 


r  .t|  :t|  .d  |r       :n  .r 

S|  .S|  :si  .8|  |st      :si  Si 

branches  in  the  ray      Of    the 
footstep  glad  and  free  We  will 

f  .r  :r  .m  |f      :s  .f 


S|  .S|  :S|  .S|    Si 


:S|  .S| 


d       :d  .d  I d 
si      :ni.f,  |si 

bright  king  of  day, 
bound  o'er  the  lea 

m      rd  .r    |  m 
dt      :d|  .d|  I  d| 


f  .r  :r  .m  |f       :8  .f 

r  .t|  :t|  .d  |r       :n  .r 

mHsio  from  the  dell.  Where  the 
cheerful  homes  so  deor.  We  will 

s  .8  :s  .8   |s       :s  .9 

S|  .8|  :S|  .S|    |8|         :8|  .8| 


n       :8|  .d  |rn      :f  .n 

d       :S|  .S|  |8|       :8t  .S| 

3'oung  lU  -  ies  dwell,  Shall  be 
sing    sweet  and  clear.  Till  the 

8       :m  .n  |s       :8  .8 
d       :d  .d  Id       :d  .d 


r  .t|  :t|  .d  |r       :m  .r 

8|  .8|  :si  .S|  |S|  :s|  .S| 

echoed  far    a  -  way,  far    a  - 

welkin  shall  resonnd  with  our 

f  .r  :r  .n  |f  rs  .f 

S|  .8|    :8|    .S|  I  S|  :8|  .8| 


c. 
•r 

way. 
glee. 

"t 

'fit 


D.  0. 


'-        I 


wmmgm 


92 


kxtC. 


FOURTH   STEP. 
VIRTUE  WOULD  QLOBIOUSLT. 


• 
• 

1 

: 

• 
• 

• 
• 

• 

• 

1 

• 
• 

d'      :- 

Vir    -     - 

It 
.    tue 

:8 

would 

s       :  — 

In 

:d 

1 

:1         1 

:s 

f       :m.f 

Is 

:f 

m      :fe 

|8 

8 

Vir    .     -     - 

tue 

would 

glo 

-     ri      -      OUB    - 

ly 

and       for    - 

ey    - 

er 

shine    By 

her 

Dwn 

Pi'     :m' 

n' 

:r' 

d' 

:t  .d'  r>* 

:d' 

t       :s 

d' 

• 

1        :-  . 

1     1 

:1 

glo   -    ri     - 

one    - 

ly 

and 

for    -    ev     - 

er. 

ev    -     er 

shine 

By        her 

ra    - 

diant 

8       :s 

d< 

:t 

1 

:s        f 

:fe 

s       :-- 

Id 

•     - 

f       :f 

If 

:r 

ra   -    diant 

light, 

By 

her 

own       ra    - 

diant 

light. 

Though 

sun,      and 

moon, 

and 

r«      :- 

1- 

:d' 

t 

:d'       r' 

• 

• 
fl 

• 
• 

d'      :~ 

t 

:s 

ligbt. 

her 

ra    - 

diant      light, 

Though 

moon, 

and 

r       ;r 

m 

:fe 

S 

:1         t 

• 

d'      :  — 

t 

:s 

n'      :  — 

:r' 

stars     Tvere 

in 

the 

deep 

sea        Bank, 

Though 

moon 

and 

stars. 

Though 

n'     :-- 

:d' 

fl 

:-     In' 

• 

r'      :— 

1- 

:r' 

d'      :- 

1- 

• 
• 

Htnrs 

were 

in 

the 

deep 

sea 

sunk. 

d*      :s 

d' 

:ta 

1 

:t      Id' 

• 

-     :d' 

t 

:t 

d>      : 

— 

t 
• 

nioou,  find 

Btars 

were 

in 

the        deep. 

the 

deep 

sea 

sunk. 

II 


KET  C.    Hound  in  two  parts. 
Staccato. 


II 


d'           :d' 

t    .le 

:t 

1 

:1 

8 

.fe    :8 

f 

ITeath 

:f 

Trip,            trip, 

fai  -  ries 

light, 

Dane 

-     ing 

aU 

the     night. 

the 

n    .re    ; pi 

r 

:b 

Id 

• 

* 

d 

:d 

|r    .de 

:r 

■tars  so       bright. 

Here 

and 

there, 

La 

la 

la        la 

la. 

f          :f 

|m  ,re  :m 

1 

:1 

|8 

.fe 

:8 

t 

:t 

|dl 

• 
• 

La            U 

k     la      la, 

La 

la 

la 

la 

la* 

La 

la 

la. 

t 

:8 

ne 

wonld 

8 

8 

ler 

»wn 

1 

:1 

ra    - 

diant 

f 

:r 

moon, 

and 

t 

:s 

noon, 

and 

Thongh^ 


:f 

the 

:r 


KET  D.     S.  0.  B. 

d'  :— :t    Id'   :— :1 
n  :—  :f    js    :--:f 

1.  Seek      the    ten    -    -  der 

2.  He        will    light       your 

3.  Yon      will    find         the 

d  :— :r    I  n  :—  :f 


r   :—  :8    It   :—  :s 

t|  :—  :t|   |r   :—  :t| 

If  you've  not  {j  - 

Through  dark  wood  and 

Dp     -     ward,  till  the 

S|  :—  :8|   |S|  :—  :8| 


1    :-  :1    |1  :— :1 

f    :— :f    |f  i-:f 

Seek  it      lit  -    -      tie 

Wand    -  'ring  lit  -    -      tie 

Hap    -      py     lit  -     -      tlo 

f   :--:f    If  :-  :f 


FOURTH  STEP. 
SEEK  THE  TENDER  SHEPHERD. 


8    :n   :—  j—  :  — 
m  :d   :— '—  :— 

Shepherd, 

pathway, 

Sheperd, 

d  :d   :— I—  :  — 


y;> 


r 

read 
thorn  - 


:— :s 

:—  :t| 
y 
y 


it    :- 
|r    :- 

found 
bri    -    . 


light        grows  clear 

S|  :—  :si    |si   : 


s    :- 
m   :- 

hiiub, 
lamb, 
.!  unb, 


:s 

:t, 

him, 

ar, 

er, 

:s, 


Mab^ 

t  C.  Seward. 

d'  :- 

:t     r'  :d'  :1 

8    :—  :  — 

|-:~: 

1    :- 

:se    t   :1    :f 

n  :—  :  — 

Seek 

him    lit    -    -  tie 

lamb; 

1 

Wand 

■  'ring    lit    -   -  tie 

Iamb; 

Hap    . 

-  py      lit    -    -  tie 

lamb; 

fl  :- 

'fl   |fi   :-:fi 

d  :—  :~ 

!-:-:       > 

n  :— 

:  8     d'  :  —  :  8 

n   • —  :s 

d' :—  :8   \ 

d  :- 

:  n     PI   :  —  :  n 

d    :—  :pi 

m  :—  :n  j 

Seek 

the  stars        whose 

rays           have  crowned  him,  [ 

On    . 

-  ward,  up    -   ward, 

ev    -      -    er 

high    -    er,     ' 

Fold 

and    Hheph  -  erd, 

near    -    -  er. 

dear    •    er,      | 

d  :       :d    ' 

• 

d  :  — 

:d     d    :      :d 

d   :— :d 

d'  :  — 

:s     f  :m   :r 

d    :-:- 

•            • 

m  :  — 

:n    r    :d   :t| 

d    :-  :- 

— :—  : 

Seek 

it       lit    -    -    tie 

lamb. 

Wand    . 

'ring  lit    -    -    tie 

lamb. 

Hap     - 

py      lit    -    -    tie 

lamb. 

d  :- 

:d     S|  :—  :S| 

d   :—  :  — 

— :—  : 

NOW  THE  WINTRY  STORMS  ARE  O'ER. 


KEY  C. 

T.  F.  Sewabd. 

m  :re  :n    s    :—  :d' 
d  :—  :d     n  :—  :m 

d'  :t    :d 
f   :      :f 

1    . : 

I    •       • 

r    :  de  :  r    |  f  :  —  :  1 

S|    :fe  :s      n   :—  : 

t|   :lei  :t|     r   :—  :f 

PI  :  re  :  n    d    :  —  : 

1.  Now        the    win    -    -  try 

storms     are 

o'er, 

Spring       un  -  locks       her 

ver    -    -  dant  store; 

2.  Now        re  -  spon    -    sive 

through  the 

grove, 

Soft    -    -  ly      tuned       to 

Spring     and    love; 

s   :fe  :8     d'  :—  :8 

1    :se  :1 

d    :— : 

s    :—  :s    |s   :—  :t 

d'  :—  :d'     s    :— : 

d  :—  :d     d   :—  :d 

f   :— :f 

f    :-:- 

S      •     "  •  8        S     •  """  •  8 

d   :  —  :  d      d   :  —  : 

n  :re  :n  js   :—  :d' 

d'  :t    :d' 

1    :-:- 

t   :le   :t  •   m' :— :r' 

d'  :— :d'   |d'  :      : 

d   :—  :d     n  :—  :r 

f   :      :f 

f   :— : 

r  :de  :r     s    :—  :f 

n  :—  :f      n  :—  : 

Smil     -   ing    pleas  -   nre 

crowns    the 

day, 

Sweet   -   ly    breathes    the 

May,         the    May. 

Ech    -     o       with        her 

sport   -  ive 

lay, 

Sweet    -    ly    sings          of 

May,        sweet  May. 

8    :fe  :s    jd'  :—  :ta 

1    :8e  :1 

jd'  :-:- 

8   :—  "8     8    :—  :s 

8    :—  :1      8    :—  : 

d  :—  :d    jd  :— :d 

f  :— :f 

If   :-:- 

8   :—  :8     S|  :—  :S| 

d  :—  :d     d  :—  : 

94 


FOUBTH  STEP. 


KKT  Bi2.    S.  S.  0.,  or  T.  T.  B.,  or  B.  C.  li 


BEST,  WEABY  FILGBIM. 


From  Domzxm 


V 


May  be  sung  in  key  0,  by  S.  C.  T.,  Tenor  singing  the  loveest  part  an  octav«  higher  than  wriUen. 


8,    :—  |8|     :S| 

I.  Rest,  wea  -  ry 

•2.  Rest,  weo  -  ry 

d|    :—  |di    :d| 


re 

fei 
pu 
pu 

d, 


;—     n 


1 8,    :— 

grim! 
grim  I 

Id,    :- 


d 

from 
till 


|d    :r 
|lai  :lai 

toil      ro  - 
mora-ing's 

If.     :fi 


n     : —   |d 
8|     :—   |8| 

poB     -     -     ing, 
break      -      ing, 

d|    :— •   Imi 


:m 


n    :—  I  n 

d     :—  |r     :r 

flight's         dark'-ning 
And  birda  a    - 

8|    :—  Isoi  :se. 


n    :■ 
d    :- 

abnd 
round 

li     :- 


If 
|r 

OWB 

thee 

|r, 


r     :  — 

t,    ?- 

round 
blithe 

8|     :  — 


:r 


\n 

Id 

ibee     are 
songB  are 

1 8,     :8| 


d 
d 

clos 
wok 

Pli 


Id 
Id 

ing; 
ing; 
I  Hi 


ere*. 

r     !• 

ti     :■ 

Drear 
Hark  I 

S|      : 


r     :n 

d 

t,    :t, 

li 

is       tho 

path 

thro*  the 

for 

8i    :8ei 


1.     :  — 


Id 
Hi 

way 

est 

II. 


n  :— 
d  :— 

frown   - 
chUl 

1|  :- 


n 

:f 

d 

:r 

ing 

be- 

winds  are  1 

1| 

:ri 

r   :■ 

ti  :- 

fore 
blow 

8|  :• 


|r   : 
It,  : 

theel 
ing  I 

|S|    : 


PI   :— 
d    :— 

No 
Here, 

8,    :— 


|re  :n 

|d   :d 

stars  on 
there  is 

|fe,  :8| 


ff 

8    :—  |f    :n 

n  :—  |r    :de 

high  to 

friend  -   ship  and 

ta,:— |1,    :8, 


r   :—  I  m  :r 
r   ;1|    jd   :t, 

guide 
kind 

fi   :- 


and  watch 
welcome 

1 8,  :f. 


d 
d   :— 

o'er 
glow     - 

m,  : — 


:-ld 


1 8,    : 

theet 
ing  I 

I  PI,  : 


d  :- 


d  :r 


la,: — 

la,:  la. 

Rest, 

wea-ry 

f.  :- 

f|   :fi 

n  :—  |d   : 


8|  :  — 

PU     - 
di  :- 


grim  I 

In,  : 


d  : 
1.   :- 

Rest, 

f.   :- 


-Id   :r 

-111   :1. 

wea-ry 

|fi    :fi 


n  :—  I  — 
S|   :— I  — 

PU 

d,  :-|- 


d   :-  I-:- 
m,  :—  I— :— 

grim! 

d,  :-|-:- 


. I . 


11 
II 
II 


EXT  C.    Round  in  two  parts. 

d<      :t        :1        1 8       :fe 

LU    -    iea         and       [to    -     tea, 

m      :re      :n      If       .fe 

gar    -    land       we're    |  wear  -  ing 

V 

f     :n     tro    In     :—    : 

tnne    heotti  en  -  |  shrined; 


:8 

th0 

:8 

to 


1       :8 

pure     und 

n       :— 

nightk 


:fe 

the 


8      :1      :t 

VThat  ooold    be 


Id'    :t 

ifair-  er 


8        :  — 

bright, 


« 
PI 
Em 


:b       :f 

blem      of 


8       :fe 

Twine  in 


n 

Tir 


:re 

tne 


:f 

the 


:n 

iu 


!d'     |r«     :d'     :t     Id'     :- 

than   1  theae  flcwen  com  - '  bined. 


DoNiniTXX. 

I  m    :m 
|r     :r 

dark'-ning 
birds  a    - 

Isci   :sei 

Id     : 
Hi     : 

way 

est 

II.     : 


-Id   : 

-  jsi    : 

theet 
•     ingi 

-  JPI,  : 


-|~: 


-I-: 


If    I 

tlie        ) 


:n 


iu 


KKT  6. 

.8| 

t 

ll.  To 
J2.  We're 
\3.  We 
U.  Oh! 


,8|  :pii    .f| 


won    • 
learnt 
see 
won    - 


der 

it 

thia 
d'r  . 


is 

from 
al  • 
ing 


tke 
the 

BO 

ever 


: 


n  :r 

d         '      :t, 

wan  ..       .       . 

flow  -      •     ing 

bus  -      -      y 

wan  -      -      der 

8  :f 

8«  Sl| 


r 
ti 


»i 


.t| 

leave    their  tU 

coarse  it  fol 

keep     it  np 

me       on    -  to 

f      .8  :f 


:n,r  .de,r 


.8|       :8| 


.ti 

lage, 
lows 
all 
the 

.8 

.8| 


8 


wan 
flow 
bn 
wan 

r 


:8| 

der, 
ing. 

By. 

der. 
It 


II 
[I 


KKT  C.    Bound  in  fonr  parts. 

8      .  fe      :  8 

Soh,    fe,  soh, 

d'     .i        :8       .n 

Now    be     -     ware      and 


mU 
flow 
in 
is 


d  . 
d 

der. 
stream, 
wheels, 
ing. 

n 


t|      .r 

8|        .3i 
hoQse  and 
with    de     - 
ni^ht  BO 
wide   world 

f         .8 

S|        .8| 

8 

t, 

wan 
Sow 
bu       - 
wan 


r 


8 

Isoh, 


.fe 

fe, 


FOURTH  STEP. 
THE  MILLEB. 

.}li  :8|      .d      In 
:        .d        d 

ler's  joy.      To  wan    - 

ing   stream,  We've  lenmt 

the    wheehi,  We  see 

™y    joy.       Ob!  wan 


9f 


J 


.8, 

.8, 

The 

It 

Which 

Tare  - 

.8 


:8|      .8, 
:8|      .ai 

home,   To 

light,     Its 
gay,      But 
roam,    Let 

:f       .8| 

:8|      .S| 

der, 
-      ing. 

By. 

der, 

:8 

J8| 


:8 

soh. 


d*     .1        :8       .n 

sing     with       care.       And 


.,r  :d 

v8|  :ni 

der    is 
it       from 
this   al     - 
d'r  -  ing 


.r 

.fi 

the 
the 
so 
ever 


r      .r 

t|      .t| 

mil  -  lers 
neith  -  er 
do        not 
well      my 

f        .8 

8)        .8| 


.t, 
.t, 


i| 

1| 

leave    their 
conrs?!  it 
keep      it 
me         un    - 

1|         .t, 

1|         .t, 


8 
t|" 


wan 
flow 
bu 
wan 

r 


S| 


» 

me, 


ilftf 

re, 


:n,r  .de,r 


:t|      .t 


oil 

rests 

turn 


I 

do 
by 
a 


pa    -    rents, 

:f      .8 


:8| 

:d 
:d 

vil 
fol 
up 
to 

:d 
:d 


.8, 


:si 


mg. 

By. 


:f 


:8| 


me. 


d      .  d  ,d  :  m      .  s 

keep     ev  -  'ry    voioe     in 


n 

8. 

mil 
flow 
in 

is 


ZoiiLNzm. 

.,f  :i*i      .d 
.,li  :8|      .d 

ler's  joy,       To 
ing    stream, The 
the    wheels,  the 
my    joy,        Oh! 

:         .PI 
:         .d 


ti 


8| 

love 
day 


.r 

.8| 


:si 


.8, 
•  S| 


to 
nor 
lone      by 
friends  and 

f         .8 


roam,  To 
night,  Its 
day, 
home, 

:f 


IJut 
Let 

.8 


8|        .8| 


:8| 


.8, 


.r 

m 

.,r  :d 

.n 

.r 

n 

.,r  :d 

.d 

lage, 

house 

and    home. 

To 

lows 

with 

de  -  light, 

The 

all 

night 

HO       gay, 

The 

the 

wide 

world  ron.na, 

And 

.r 

m 

.,r   :d 

.d 

.r 

m 

.,r  :d 

.d 

d 


8| 

der. 

stream. 

wheels. 

(Ur. 

n 
d. 


me, 

d' 

tcne. 


.re 

re, 


:m 

me. 


I 


96 


FOURTH  STEP. 


MURMURING  BROOKLET. 


Mart  G.  Sewabd. 
KBT  BI?. 


Schumann. 


Bcpeatpp.  D.O.  5^F.  t. 


s,  :d  :t,   1,  :r  :d 

Murm'ring  brook-let 

n,:-  :-    f,  :-  :- 

Loo 

t|  :1|  :t|   d  :-  :n 

gent  -   ly    flow  -    ing, 

-  :-  :-  jni:-  :- 

s, :-  :-    1,  :-  :- 

Loo 

s,  :-  :-  i-  :-  :- 

d, :-  :-    f,  :-  :- 

s,  :-  :-    d,  :-  :- 

s,  :d  :t|    1,  :r  :d 

Wind  -  ing  free      the 

t,  :1, 

fields 

:t,  d  :-  :- 

a-mong. 

m,:-  :-    f,  :-  :- 

• 
• 

:-  m,  :-  :- 

Loo 

s, :-  :-    1,  :-  :- 

s,  :- 

• •_      •-_ 

•                  t          • 

Loo 

d, :-  :-    f,  :-  :- 

s,  :- 

•—     i\»     •—      •— 

•         U|     •          • 

t,n:-  :-  |f  :-  :- 

Loo 

'•■8|:d  :t|  lljjr  :d 

Sweet  and    pure     as 

',d:-  :-   |1  :-   :- 

Loo 

8d:- 


:-    If.:-   :- 


Repent  pp.  D.S.  f.  B|2. 


• 

:r    d  :-   :- 

ti:l| 

bub  - 

s  :- 

:t|    d  :-   :n 

bling    fountain, 

• • •_ 

«              .       . 

s,  :s 

:f    PI  :r   :d 

m  :-  :-    f  :-  :- 

Loo 

-  :-  :r     d  :-  :- 

s,  :d  :t,    1|  :r    :d 

Sing  -  ing    soft       its 
Loo .' 

t,:!,   :t,    d  :-  :- 

rip  -  pling  song. 

9     t            •                        •           • 

d  :-  :-    f,  :-  :- 

S|  :s   :f     n  :r  :d 

%  :d  :t|    1,  :r    :d 

Glad    and  gay       its 

i,ni,:-  :-    f, :-   :- 

Loo 

t,:l, 

work 

• 
t 

ful 

• 

d  :-  :n 

-  fil    -     ing, 

m,:-  :- 

dg, :-  :-    1, :-   :- 

Loo  

s,  :- 

t 
• 

•  • 

•  • 

f.d, :-  :-    f, :-   :- 

s,  :- 

t 

d,:-  :- 

s,  :d  :t. 

Car  -  in^ 

rn,:-  :- 

Loo 

1,  :r  :d 

not        for 

If,  :-  :- 

t|  :1|  :t| 

cloud    or 

•_    • 

•       • 

d  :- 

sun. 

n,:- 

f.  Eb 
:*^.Si 

'Tis 

:^.s. 

S|  :-  :- 

Loo 

li  :-  :- 

s,  :-  :- 

-  :- 

:d,s, 

.'Tis 

:'^.S| 

d,  :-  :- 

f|  :-  :- 

s,  :-  :- 

d,  :- 

d  :m  :1   |s_:pi  :d 

roll  -  ing,     rush  -  ing, 

d  :m  :1   Is  :m  :d 


d  :m  :1    |s  ;pi  :d 

roll  -  ing,     rush  -  ing, 

d  :m  :1    Is  :m  :d 


t,  :d  :1,  |S|^_[1,   :t| 

on  -  ward  push  -  ing 

t,  ;d  :1,  |si  :1,  :t| 

ti  :d  :li  Isi  :li   :ti 


on 


ward  push  -  ing 

t|  :d  :1,  |S|  :1,  :t. 


d  ;pi  :1   |s  ;m  :d 

Ceas  -  ing    not      when 

d  :ri  :1    Is  :n  :d 


djjn  :1    |s  :m  :d 

Ceas  -  ing    not      when 

d  :ni  :1   Is   :n  :d 


t,  :d  :!,  Is,  :-  :S| 

once  be  -  gun,  'Tis 

t,  ;d  :1,  |S|  :-  :s, 

t,  ;d  :1,  |s,  :-  :s, 

once  be  -  gun,  'Tis 

t|  :d  :!,  Is,  :-  :8, 


d  :pi  :1    |8_:m  :d 

whirl  -  ing,  twirl  -  ing, 

d  :pi  :1    |s_:n  :d 
d  :pi  :1    |8_2m  :d 

whirl  -  ing,  twirl  -  ing, 

d  :m  :1    Is  :m  :d 


t|  :d  :1,  |^_:1, 

wind  -  ing,  turn  - 

t|  ;d  :1|  |S|  :1, 
ti  :d  :li  I  Si  :1 


si  ;i. 


wind  -  ing,  turn  - 

t|  :d  :1,  |S|  :1| 


:ti 

:t, 
:ti 

ing. 

:ti 


d  :m  :1  |s  :m  :d 

liest  -  ing  not        till 

,d  ;m  :1  js  :m  :d 
d  :m  :1  |s  :n  :d 

llest  -  ing  not        till 

d  :m  :1  |s  m  :d 


t|jd  :1,  |si  :-  ;s 

work  is  done. 

t|  ;d  :1,  |8|  :-  ;s 

t,  ;d  :1,  |S|  :-  ;s 

work  is  done. 

t|  :d  :1,  |S|  :-  :s 


8    :di  :t     1    :r'  :d' 

Mur  -  m'ring    brook  -   let 

n  :— :—   f   :—  :  — 

Ijoo 

t    :1    :t     d'  :— ^:n' 

gent    -     ly     flow    -    -  ing, 

—  :—  :—    n  :—  :— 

d  :— :—   1    :—  :  — 

Loo 

8   :_  :—  1  —  :—  :— 

A     • • f.     • • 

S|  :—  :—   d  5  —  :  — 

s   :d'  :t    |1     ;r'  :d' 

Wind  -    ing    sweet        the 

n  :— :—  |f    :—  :  — 

Loo 

s   :— :—  |1    :—  :— 

Loo 

—  :— Id  :  — :—     d  :— :— jf,   :— :  — 


fields 


s    : 
S|  :• 


t    Id'  :-:  — 

\  -  mong; 

—  In  :—  :  — 


m 


3HUMAKN. 

If  :-  :- 
"|ijjr'":d* 

pure     as 

U  :-   :- 


s   :m  :d 

not      when 

s  :m  :d 
s  ;pi  :d 

not      when 

s   :n  :d 


Si  :- 


done. 

S|  ;-  ;s 
S|  ;-  ;8 

done. 

S|  :-  :s 


i«; 


Bl?.  t. 


FOURTH   STEP. 


PI  :— 

Loo. . . . 


97 


♦n  :—  :—   f    :—  :— 

—  :—  :r     d    :— 

• 
• 

Loo 

rsi  :d    :t|    1|   :r    :d 

t|   :1|    :t>    d    :— 

:n 

Sweet      and      pure        as 

bub    -    bling  foun    - 

tain. 

8d  :—  : :—  :— 

S|  :—  :—   d   :— 

• 

Loo 

8.d,:—  :—  f,   :—  :— 

S|  :—  :f|     nil  :ri 

:d, 

S|_^ 

Sing    - 

d    :— 

Lcio . . . . 

d,  :- 


-  If 


ti   |li_ 

ing      soft 


-    If. 


:d 


tijll 

rip 

s,   :- 


i\   • 


Id   :- 


t,   Id    :- 

pling  song. 

-  Id    :- 


fi    I  Hi  :ri 


:8i 

•Tis 

:mi 

•Tis 

:d 

'Tis 

:d, 


r   ;n    :f    |m  :r    :d 

whirl    -    ing,    twirl    -    ing, 

S|  :—  :S|   |S|   :— :ni| 
t|  ;d    :  r    |  d    :  —  :  d 

whirl    -    ing,  twirl      -    ing, 

S|  :—  :si   |d|   :—  :d| 
ti  :d    :r    |d   :r    :re 


t|  :1|    :t|    |d   :■ 

wind    -  ing,    turn 

f,  :— :f,    In,  : 


r  :- 

wind 


:r     |d   : 

ing,    tui-n 


S|  : —  :S|    |d|  :  — 


flow 


for  -    ev 


er 


n 


mur 


f    :fe  Is    :■ 

-  m'ring  brook 


:si 

:nii 
:d 

ing, 

:d, 

:t, 

let. 


d    :1|    :t| 

is 

:f. 


work 
f|     :- 


:r 

is 

S|  :—  :8i 


r    : 

work 


Id   :■ 

done. 

I  PI,  :• 

Id   :• 

done. 

Id,  :■ 


:d 

o 


d    : 

with 

pii  :- 
d   :- 

with 

d,  :■ 


:— Id   :—  :  — 

thy 

:—  |ni  :—  :  — 


|S| 
thy 

Id, 


d    :— :  — 

Bong. 

pii  : —  :  — 
s,   :—  :  — 

song. 

d|  :  —  :  — 


KBT  C.     M.  108. 

s  :-:s   II 


OH,  WIPE  AWAY  THAT  TEAR. 


;t   :d' 


n  :—  :  PI  |re  :— :re 

wipe  a  -  way  that 
when  a  -  way  from 
close  of  part  -  ing 
watch  the  set  -  ting 
3  :—  :  s  I  fe  :—  :  fe 
d:-:d  Id   :-:d 


s    :— 

:—  |pi  :—  :8 

g  :-:f   If    :— 

:  P) 

f   :- 

PI  :— 

:-|d  :-:n 

PI  :—  :r  |r  :— 

:de 

r   :— 

tear. 

love.    The 

pearl  -  y  drop 

I 

see; 

thee. 

love.  Sweet 

hope  shall  be 

my 

star; 

day. 

love.  When 

yon    bright  star 

is 

set; 

star. 

love,  And 

think  I     look 

on 

thee; 

s    :— 

:—  1  s   :—  :  8 

s   :—  :s   |s    :— 

:s 

S    :~ 

d   :- 

:— Id  :-:d 

S|  ; —  I  Si  1  S|  ; 

:si 

8,  :— 

8    :— 

PI   :— 

cheer, 

aye, 

way, 

far, 


-Id'  :-  :d' 
- |n  :—  :n 

love.  Let 

love,  We 

love.  Still 

love,  And 


8    :—  :— 18    :—  :s 
d    :-  :-ld    :-  :d 


Pi'  :— 
8    :—  :8 

hope 


n'  If  ;m'  :re' 
:fe 


II 


do 

meet 

thus. 


som 
for 
a    • 


thy   bo 

not  part 

me  while 

the'  sund  -  'red 
d'  :—  :d'  |d'  :-  :d' 
d'  :-  :d'  |d'  :-  :d' 


m':-  :-  |d'  :-  :d' 
8  : —  :—  I  m  :—  :  PI 
cheer,  love.        As 

love,       I'll 
love,       'Mid 
love,       How 
d'  :—  :—  |s    :—  :s 
d'  :—  :-  Id    :—  :3 


aye, 
way, 
far. 


|-:-:f 
I-:-  :r 

Let 
We 

Still 
And 

I-:-  :s 
I-:-  :s, 


r'  :—  :de"|i'  :—  :  n' 
f   :-  :pj   If  :- 
yon    bright  star 
wel  -  conio  thee 
scenes  we'll  ne'er 
near     our  hearts 
8    :—  :8    Is  :— 
8    :—  :s    |8  :— 


PI  :f 

:s   |1    :t 

:d' 

m  :— 

:pi  |re  : — 

:re 

hope 

thy  bo    - 

som 

do 

not  part 

for 

meet 

me  while 

a  - 

thUH, 

tho'sund- 

'red 

8    :— 

:3    |fe  :- 

:fe 

d   :- 

:d   Id   :- 

:d 

d'  :-:-  I—:— 


:8 

PI   :—  : 

we 

see. 

a  - 

far. 

for- 

get. 

rany 

be. 

:s 

8    :— : 

:s 

d   :-: 

m 


TrS!?l!S!!!mHtS!!!9''*1!"^SR99 


96 


T.  P.  a 

KET  AiZ. 

8|        :fei 

S8| 

l.Out 

:rei 

in 

:ni 

tha 

2.  On 

moa    - 

-sy 

d 

:d 

:d 

d 

:d 

:d 

8| 

:fei 

:si 

n, 

Swift 

:rei 

flee 

:mi 

the 

Sun    - 

beams 

and 

d 

:d 

:d 

d 

:d 

:d 

El2.t. 
'8 

:fe 

:s 

Birds 

:re 

fiU 

the 

Un     - 

der 

tha 

•d« 

:d< 

:d' 

•4 

:d 

:d 

s 


:fe 


:re 

pnss 


m 

There 
Spend   we 

d' 


:di 
:d 


:s 
:m 

our 
the 

:d' 
:d 


FOURTH   STEP. 
OUT  IN  THE  SHADY  BOWEBS.* 


T.  F.  Sbwabo. 

t|    .1|   :1|   .sei  :1| 

r 

:d% 

:r 

f   .n  :n  .re   :n         \ 

fi    .fi  :f.   .fi'  :fi 

shad-y    greenwood  bowers, 
banks  where  blossoms  creep, 

d    .d  :d   .d    :d 

Balm 
From 

8| 

-  y 

er    - 

:si 

:fi 

tha 
-    ery 

:8| 

li   .8|   :S|   .foi   :8t         1 

air  with  fragrant  flowers,         i 
side  the  fresh  buds  peep,         ^ 

d  .d   :d   .d    :d         \ 

fi    .fi  :fi    .fi     :fi 

8| 

:8, 

:8, 

d|  .d|  :d|  .d|    :d|         ' 

t|   .1|    :1|  .soi  :1| 

S| 

:li 

:t, 

FINE. 

d         =-        :-         1 

fi    .fi    :fi  .fi    :fi 

happy      summer   hours 
flow'rs  their  revels  keep, 

d   .d   :d  .d     :d 

fl 
On 

And 
t| 

:fi 

wings 
songs 

:d 

:fi 

a     -     - 
re    -     - 

:r 

n,        :—        :  — 

way. 
sound. 

d         :—        :  — 

fi   .fi   :fi  .fi     :fi 

8| 

5  8, 

:s, 

d         :-        :- 

8    .d<   :d>    .8    :1 

f 

:r 

:1 

1    .8    :s    .n    :8         \ 

n  .n  :n    .n  :f 

air  with  sweetest    song, 
leaf-y       for  -  est  bough 

d<  .8    :s     .d>  :d< 

r 

Soft    - 
NVhera 

t 

:r 

ly 

ceph    - 

:t 

:f 

the 
-  yrs 

:t 

f   .m  :m  ,d    :m         J 

brooklet  flows  a   •    long,         f 
whisper  soft    and    low,           l 

6}  .d'  :d'  .d'    :d'         \ 

d  .d    :d    .d  :f 

8 

:8 

:s 

d   .d  :d   .d    :d          / 

8    .d'   :d>    .8     :1 
n  .m   :m    .m    :f 

hours,  a  hap  -  py  throng, 
hours  as  swift  they  go, 

d<  .8    :8     .d*   :d< 
d   .d    :d    .d    :f 


r 

Day 
While 

t 
8 


:r 

:t, 

af 
joys 

:8 

'.8 


:t, 

ter 

a    ' 

:f 


f.  Alz. 

*8. 


/?>  D.  0. 


*8| 

:mi 

:ti 

day. 

bound. 

"t, 

:d 

:r 

dsi        :—         :  — 


KEY  Bt?. 


m     .d 

:8,,fe|.8| 

li      .f 

:f 

8i      .Hi 

:ni,re|.ni 

fi      .li 

:l| 

I.  Singing 

cheeri  -  ly 

come    we 

now. 

2.  Oh !  how 

pleasantly 

time  glides 

on 

d      .d 

:d      .d 

d      .d 

:d 

d|     .d| 

:d|      .d| 

fi      .fi 

:fi 

SINGING  CHEEEILY. 
f        .t, 


8| 
Tra 

Tra 

t| 

8| 


.8| 
la 
la 

.r 


Words  and  Music  by  W.  F.  Shebwik. 


:  t| ,d  .r 

:  S|  ,8t  .f| 

la    la    la, 
la    la    la, 

:f  ,n  .r 

•8|  ,8,  .8| 


m 


.d 


P1|  .8| 
gai  -  ly 
briug-ing 

d      .d 


M 


ipll 


:r       .8| 
:fi      .f( 

twin  -    ing, 
pleas  -  ure, 

:  t|         .t| 
:  8|         .8| 


.  Sbwabd. 

9    :n 

)i    :8| 

b  flowers, 
ids  peep, 

:d 


:d 


FINE. 


)    :8 

,    :n 

-    long, 
id    low, 

'    :d' 
:d 


/T>  D.  0. 


:f. 


:r 


FOUItTH    aTEP. 

w 

n     .d 

:8|,fe,.8, 

ll    .f 

:f 

.'♦.■^  ;■  ."■ 

f       .t, 

1     k    - 

:t|  ,d  .r  ,m 

d 

.FINE. 

•                       • 

S|        .Pli 
Wreaths  of 

:ni,rei.mi 

melo  -  dy 

f,    .1, 

for       each 

:1| 

brow, 

S|        .S| 
Tra      la 

:S|,S|  .f|,S| 

la    la    la   la 

n, 

la. 

•  -                     • 

When  in 

harmony 

sings  each 

one. 

Tra      la 

la    la    la   la 

la. 

: 

d      .d 

:d  ,d  .d 

d      .d 

:d 

t|      .r 

:f  ,h  .r  ,t| 

d 

j 

• 

d|     .d| 

:d|,d|  .d| 

fi      .f. 

:fi 

8|        .S| 

:S|  ,S|  .8|  8| 

d, 

:—     . 

F.  t. 
df     .r 

:r  ,n  .f  ,1 

8      .d' 

:d' 

.,8 

t         .1 

:s  ,fe  .8 

1 

.8 

:m,f  .8       \ 

».r     .t, 

:t|,d   .r  ,f 

m      .m 

:n 

.,P1 

8         .f 

:n,re  .n 

f 

.n 

:d  ,r  .n       / 

Eyes  that 

Bparkle  with  a 

pure    do    - 

ligbt. 

So 

bright-ly 

gleam-ing, 

On 

us 

beom-ing,        ( 

AU     life'B 

trials    are  a- 

while  for    - 

got, 

Its 

troubled 

dream-ing, 

I    - 

■  die 

scheming,        ( 

If       .8 

•  S    yS       99     ja 

S         .8 

:8 

.,8 

S         .8 

:s        .8 

8 

.8 

:s       .8        j 

••.Si      .S| 

:si,S|  .8)  ,S| 

d      .d 

:d 

..d 

S|        .8| 

:S|       .S| 

d 

.d 

:d      .d       / 

f      .r 

:r  ,n  .f  ,1 

8      .d< 

:d> 

.,8 

t  ,1   .8    ,f 

f.  Biz. 

:  n      .r       Ksi 

/TS             DO. 

rl                1 

r      .t| 

Bring  with 

:t|,d  .r  ,f 

beauty  in  theii 

n      .PI 

^'liiiice  to 

night. 

.,m 

A 

r  ,f  .n  ,r  :d      .t| 

cheery  welcome  to        our 

song. 

Wr                 1 

So- 

Care  and 

wea-ri-nesB  can 

harai    us 

not. 

U 

wc  can  sing  a 

mer  -  ry 

glee. 

Then— 

S        .8 

•  S  |o     vS     jS 

8         .8 

:8 

.,S 

S    yS   %o     fS 

:s       .f 

nt, 

:t. 

s,     .s. 

:8|,8t    .S|   ,S| 

d      .d 

:d 

.,d 

8|  ,S|.8|  ,8| 

:8|      .8| 

*s, 

m 

KEY 


Biz. 

d    :-.t,  :d 

m,  :-.r, :  n, 
sweet  to  go 
pluck  the  iwfet 
gardner  stands 
Kweet  to  go 
d    :-.d  :d 
d|    :-.d, :  d| 


HOW  SWEET  TO  GO  STRAYING. 


m 


:d 


r 

S|    :f,     :m, 
Ktraying,  How 
daisies    From 
nigh  you  To 
straying.  How 
d    :d    :d 
d,    :d,    :d| 


ll    :-.se|:l| 

f.    :-.f,  :fi 
sweet  to    go 

warm  shelfered 
watch  and  de- 
sweot  to    go 
d    :-.d  :d 
f,     :-.f,  :f, 


d    :t,    :1, 

1,    :s,    :f, 

maying  O'er 
places,    In 
ny  you  The 
maving  O'er 
d  ':d    :d 

f,    :f,    :f, 


s,    :-- 
m,  :— 

bill    - 
grove 
flow'ni 
bill    - 
d    :- 
d,    :- 


d    ;r 

s,    :- 

top 

or 

tliiit 

to^j 

d    :t, 


n,  :ri 


:s, 

and 

l.y 

you 

and 

:d 

:d, 


r    :— 

s,    :— 

prove; 

brook; 

see; 

grove; 

t,   :- 

s,    :— 


T.  F.  SXWABD. 


—  . —    'Bf 

To 
And 
For 
To 
*  !""■     !  8| 
"  I —     •  S| 


Shsbwik. 

r       .8) 

r.     .f. 

rin  -    ing, 
eoa  -  ure, 

b|         .t| 
S|         .8| 


r     :-.de:r 

S|     •— .S|  •  S| 
range  the  green 
vio  -  let  or 
rich    is  earth's 
range  the  green 
t|    :-.lei:  t, 

S)     •~,8|  I  S| 


f     :  m    :r 

S)      •  8|      •  ll 
meadow.  To 
mayflow'r.And 
bosom       In 
meadow.   To 
r     :d     :t| 

8)      •  B|      •  S| 


d     :-.t,  :d 
pii    :-.ri  :  p1( 
rest    in    the 
many  a     gay 
bud  and    in 
rest    in     the 
d    :-.d  :  d 
d|    :-.d, :  d, 


r 

:d 

:1| 

f. 

:f. 

:f, 

shadow 

With 

Riiy 

flow 

r  From 

blossom 

For 

shadow 

With 

1. 

:1. 

:% 

f, 

:f. 

:f, 

s,     :- 
m,   :- 

those 
each 
you 
those 
d    :- 


t,    :d 

:r 

d     : 

f,     :m, 

:f, 

m,    : 

that 

we 

love. 

cos     - 

•  y 

nook 

and 

for 

me. 

that 

we 

love. 

r     :d 

s,    :  - 

:8, 

d     : 
d,    : 

100 


T.  F.  SXWABD. 
KEY  Biz. 


S| 
Sweet 

d, 


I 


8| 
eve 

d, 


FOUBTH  STEP. 

SWEET  EVENING  HOUR. 

Arranged  from  KuvLkK,  by  Thbo.  F.  Sbwabd. 


S| 
ning 

d, 


I 


S| 
hour, 

d, 


.S| 

o 

•  Pll 


8| 
sweet 

Hi 


S| 

Sweet 

d, 


1,    .d 

evening 

fi    .ri 


S| 
hour, 

n, 

S| 

eve 


d 


-    .n 
o 

-      .8| 


r     .t|     :d     .1| 

calm  and    qui  -    et 

fi     .S|     :  rii    .f| 


eve 


S| 

• 
• 

8| 

ning 

hour, 

d, 

•     1  . 

t 

d, 

t, 

:s, 

.8, 

f 

8| 

:S| 

.8, 

8| 

liev     - 

-    ing, 

The 

birds 

liev    - 

-    ing, 

The 

stars 

r 

:t, 

.t, 

t, 

S| 

:s, 

.S| 

Si 

S|      .S| 
ning,  How 


:ri     .d 


:S| 

to 
one 

:d 


.8- 
their 

by 
.n 


:si    .S| 


8| 
gen    - 

Pll 

8| 

Sweet 

d, 

t, 

8| 

nests 

one 


:1,     .d 

tie       thy 

:f.     .r, 


:d 

:8, 

with 
in 

:m ^d 

:si 


8| 
power; 

nil 

8| 
hour; 

d| 


.n 

From 
.8| 

.d 

From 

•d 


.S| 


8|     .S|    :S| 
fi      .fi     :fi 

cheerful    songs      re 
heav'ns  blue  vault  ap 

tj  atl  St|  ttl 

8|        .8|      :  Sj        .8) 


r     .t|  :8|     .1| 

care  each  heart    re  ■ 

S|      .S|  :8|       .S| 

r     .r  :n     .m 

care  each  heart    re  ■ 

ti    .ti  :d     .d 


1| 
fi 

tir    - 
pear 

d 

S| 


:S| 
:fi 

ing, 

:t| 
:si 


.S| 

.S| 

All 

The 

.t, 

.8, 


:m     .d 


:d 


S| 

:si 

.8| 

8| 

:S| 

na    • 

-    ture's 

glad 

voi    -    - 

ces 

light 

zeph  - 

yrs 

play 

where 

t, 

:d 

.m 

f 

:rn 

S| 

:S| 

■8| 

8| 

:d 

r 

:d 

t| 

Sli 

all 

It 

hushed 

to 

8| 

:si 

f| 

It 

t| 

:n 

m  -  ■ 

m 

fling    ■ 

-  ing 

ev    -     - 

ery 

8| 

:8, 

-i 

m 

m 

r     .r      :r     .r 
8|    .S|     :fei   .fei 

come  with  sound  in    ■ 
roB  -  es        are    in    ■ 

r     .r     :d    .d 

t|    .t|     :1|    •1| 


:-     .8| 
o 

:-     .fi 


:n     .r 


8| 

spir 

twin 

t| 

8| 


8| 

Bwefit 

Pll 

S| 
Sweet 

d, 


III 

ing. 
ing, 

:d .t\ 

:B| 


:1,     .d 

eve  -  ning 

:fi     .ri 


r 
fei 

Come 
Fra    . 

d 


hour. 


P^l^ 

8| 

eve 

d,. 


:pi .T 

:fB| 

till 
grance 

:d 


tl. 


.PI 
O 

.8, 


p.  Sewabd. 


-    .n 
o 

-     .8| 


:s, 

.ll 

1    heart 

re  - 

:s, 

.8, 

:n 

.m 

1    heart 

re  - 

:d 

.d 

:s, 

.S| 

:f. 

.8, 

-  Jng. 

All 

-   ing. 

The 

:t, 

.t, 

:8i 


.81 


:ni     .r 


:fe, 

till 
grance 

:d 


.8| 


FOURTH 

STEP. 

• 

lUI 

r     .i|     :d 

.1| 

t, 

:i|      .8) 

8|           : 

1,     .d 

8| 

• "         • 

n 

i 

:li     .t,     \ 

calm  and    qui  -    et 

eve    • 

- 

ning,  How 

gen    -    -    tie        thy 

power, 

0 

^eet 

eve  -  ning     1 

fi    .S|     :  PI 

.     .f. 

ri 

:fi     .fi 

PI,           : 

fi     .ri 

n, 

:-     .1 

8| 

t 

:f,     .f,     ( 

8|               '- 

— 

8| 

:  — 

8,           : 

— 

8| 

!- 

d 

t| 

d     .r     ( 

ning 

hour, 

Sweet 

hoar, 

0 

sweet 

eve  -  ning     1 

d,           :- 

- 

d, 

:  — 

d,           : 

— 

d, 

:- 

di 

8| 

:si     .8|     / 

d           :- 

.S| 

S| 

:1,     .d 

S|            : 

— 

S| 

:  — 

8| 

• 

hour, 

Sweet 

eve    ■ 

- 

ning 

hour, 

Sweet 

hour. 

Hi           :- 

.8, 

8| 

:fe, 

s,            : 

f| 

Pl| 

• 

d            :- 

.PI 

PI 

:re 

PI          : 

-     .PI 

r 

:1| 

.ti 

d 

• 

hour, 

Sweet 

ev6    • 

- 

ning 

hour, 

0 

sweet 

eve  -  ning 

hour. 

d, 

.d, 

d, 

:d, 

d,           : 

— 

Si 

!  — 

d, 

• 

•      ■  ' 

Eliza  M.  Shebman. 

IN  THE  VINEYARD. 

B.  0.  Unskt.t),  by  per. 

KEY  F. 

m      :s 

f       : 

PI 

PI 

:r 

ll       :r 

d       :d        t, 

:d 

PI 

:r 

r       :— 

d      :d 

d       : 

d 

1| 

:li 

li       :li 

s,       :si        8, 

:si 

d 

:d 

t.      :-     \ 

1.  Long,  0 

Mas  -    1 

ter. 

in 

thy 

\\nt>  -    yard. 

Thro'    the         dust 

and 

heat 

of 

day,                 / 

2.  Ton  -  gled 

A'ines     1 

md 

fad 

-    ed 

flow  -    ers. 

Hid  -  den        lie 

a 

mong    ray 

sheaves,            ( 

}..Gath-ered 

I            1 

the 

love 

-  ly 

flow  -    ers. 

With     their      dew  - 

y 

fra    ■ 

grance 

sweet,                / 

I.  Purge  thou. 

then       \ 

the 

sheaves  bo 

worth  -  less. 

That     I             lay 

at 

thy 

dear 

feet,                  V 

s       :ta 

1        : 

S 

f 

:f 

f       :f 

PI      :pi        r 

:pi 

fe 

:fe 

8       :—      1 

d      :d 

d       : 

d 

f| 

:fi 

fi       :fi 

S|       :8|        S| 

:si 

ri 

:ri 

8,      :  — 

n      :s 

Eitard 

FINE. 

f       : 

m 

PI 

:r 

li      :r 

d       :d        d 

Vt,'"' 

I,"" 

■■:t,'' 

d       :  — 

d      :d 

d       : 

tai 

1. 

:li 

li      :1a, 

S|       :  S|        foi 

:fi 

fi 

:si 

8,       :—     \ 

I            have 

toiled     I 

md 

with 

my 

bur    -   den 

Come     I            now 

thro' 

shad 

-  ows 

gray-                  ) 

Look'st  thou 

sor    -     ] 

row   - 

ful, 

0 

Mas  -    ter? 

Are        there     noth 

■  ing 

there 

but 

leaves.               / 

Hop  -  ing 

that 

1    -   - 

mid 

their 

beau  -  ty 

Thou     migh'st  find 

some 

grains   of 

wheat.               \ 

So         they 

yield       i 

.hee 

at 

the 

har    -    v.'st 

On    -    ly          fin    - 

est 

of 

the 

wheat.              ( 

D.S.— Gladto 

rest         when 

eve 

-    ning 

com   -    eth. 

And      the        hours 

are 

cool 

and 

sweet.               I 

s       :ta 

U       : 

8 

f 

:f 

f       :f 

PI      :pi       r 

:r 

r 

:f 

PI      :~     / 

d      :d 

d       : 

d 

fl 

:fi 

fi       :fi 

S|       :8|       1| 

:8, 

S| 

:si 

d       :— 

^        ^  D.  S. 

r      :  — 

8       : 

_ 

t 

:1 

8       :r 

f       :f         PI 

:1 

1 

:fe 

8       :f 

Toil      -      - 

ing 

in 

thy 

vine  -  yard 

All        day        long 

with 

wea 

-  ry 

feet. 

ii  -^ 

ti       : 

— 

r 

:d 

ti_     :t, 

r       :r        d 

:d 

d 

:d 

t(      :r 

8       :b 

\7     : 

8 

8 

:8 

8       :8 

8        :8          8 

:f 

fe 

:1 

8       :  — 

Toil  -  ing, 

toil   - 

ing. 

toil 

-  ing, 

toil   -   ing. 

All        day        long 

with 

wea 

■  "^y 

feet, 

8|        :S| 

Is,      : 

8| 

8|. 

:8| 

8 

:8, 

t|       :t| 

d 

:f 

r 

:r 

8,       :t, 

102 


fOXTBTH  BTEP, 


Beating  Time.  It  waa  recommended  in  the  flnt  step 
(see  note,  page  7)  not  to  allow  pnpils  to  bent  time  nntil  tbey 
have  gained  a  senKe  of  time.  If  the  teacher  wiBbeR,,he  may  now 
teacb  beating  time  according  to  tbe  following  diagrams.  The 
beating  Bhould  be  done  by  one  hand  (palm  downwards)  chiefly 
by  the  motion  of  the  wriut,  and  with  bnt  little  motion  of  the 
arm.  The  hand  should  pass  swiftly  and  decidedly  from  one 
poitit  of  the  beating  to  the  next,  and  it  should  be  held  steadily 
at  each  point  as  long  as  the  pulse  lasts.    The  direction  of  the 


motion  is  from  the  thinner  te  thicker  end  of  each  line.    The 
thicker  end  shows  the  "point  of  rest"  for  each  pulse. 

Nom.— It  is  better  to  beat  the  second  pnlne  of  threo-pniM  mMMiire 
to  tbe  rijibt,  than  (oa  Rome  <lo)  towartU  the  l««rt,  lM<eaiiH«  ii  tlnia  rorre- 
apomU  with  the  niediuiii  b«nt  of  the  I'oiir-piiUe  iiK'nMiiie,  and  the  iM-cona 
piilHuuf  thpje-piilMoiiieaHnrviii/ii<  a  iiie<liiiiii  piiUe.  It  In  voiiimioiiIv  tr«-nt«i^ 
(both  rhythnncully  and  hiirniiinivHlly)  aa  a  coiKiniiniimi  ufihe  firrt  piilne 
Similar  reanona  ahow  a  pr(>prit<ly  In  the  niodtt  of  b4-aiiii|!  a  als-piilHe  iiiraa 
ure;  but  when  Ihia  nieaaiiru  niorpH  very  <|iilrkly,  it  la  beuiaa  like  a  twa 
pulse  lueaaiire,  giving  a  beat  ou  each  aucuuted  pulae. 


TWOPtTLSB 
M£ASDJt£. 

up: 


TITREE-rULSB 
MEASURB. 


rouR-ruLSB 

MEASUKB. 

up: 


STXPULSB 
MEASOUB. 


txwwl 


Expression.— The  following  table  shows  the  names  of 
the  ditl'ereut  (le^rees  of  power;  the  nbbreviutions  ami  ninrks  by 
which  Uiey  aro  known,  ami  their  delinitions.  The  teucher  will 
ozplain  tliefie  topioH,  as  may  be  required,  at  convenient  points 
in  hiH  courHC  of  lesKons.  'j^he  full  treatment  of  the  subject  be- 
longs in  the  Fifth  Step. 


PUNISSDIO  - 
PUNO    -     - 

Mezzo    -    - 
FonTE  -    - 
FonTissnio  - 
Crescendo 
Diminuendo 

SwELt  -      -      ■ 

Sfoutzando 
Leoato     •    ■ 
■Staccato    - 


PnOXOUXCKD. 

Pe-fth-nisfiimo     - 

•  Pe-a/t-no  -    -    - 
Ifci-zo  -    -    -    . 

•  Four-tay  -    -    - 
Four-^tssimo  -    - 

•  Cre-s/ien-do  -    - 
Dim-in-oo-en-do  ■ 


Sfort-zan-do  -    - 
loiy-fjah-to     -    - 
Stock-ZcaA-to     • 


Makkxo.  Meaxiko. 

pp Very  Soft. 

.p.......     Soft. 

m  -  •  -  -  '  Medium. 
.y.    ..----  Loud. 

ff  .  .  .  .  -Very  Loud. 
-  ere*,  or  _*;-    -    -  Increase. 

dim.  or  ~^  -  -  Diminish. 
-  Increase  and  Diminish. 
■  sf.  or/z.  or  >-  -  Explosive. 

Smooth,  Connected. 

f   t   t    -    Short,  Detached. 


The  Hold  /CSt  indicates  that  the  tone  is  to  be  prolonged 
at  the  option  of  tlie  leader. 


Da  Capo,  or  D.  0.,  means  repeat  ficom  the  beginning. 
Dal  Segno,  oi  D.  S.,  meana  repeat  from  the  sign  *f^. 


Fine  indicates  the  place  to  end  after  a  D.  0.  or  D.  S. 


Tho  Silent  Quarter-pulse  is  indicatpd,  like  Ihe  other 
silences,  by  a  vacant  6|)ace  among  the  pulKo-diviKJons.  It  is 
named  sa  on  the  accented,  and  se  on  the  unaccented  part  of  a 
pultie. 

Ex.  192. 


TAA 

1 

TAA 

:1 

TAX 

.1 

safa    te-fe 
,1    .1    .1 

TAA 

:1 

»rAi 
.1 

d 

:pi 

.8 

,f  .n  ,r 

:d 

.d 

8, 

:n 

.d 

,r  .n  ,f 

:s 

.8 

Ex.  193. 

ta-fa- te-fe 

1,1    .1,1 

TAA 

:1 

TAI 
.1 

ta-fa  -  te  se 
1  ,1    .1   , 

ta-fa 

:1,1 

•  te   .<;e 
.1    , 

d  ,r  .  n  ,f 

:8 

.8 

s  ,f  .n  , 

:pi  ,r 

.d  , 

n  ,r  .d  ,t| 

:d 

.n 

r  ,n  .f  , 

:pi  ,f 

:s  , 

Thirds  of  a  Pulse  are  inrlicatcd  by  commas  turned  to 
the  right,  thus,— !  ,  ,  ||    The  first  third  of  a  pnlHC  in  nnnifd  taa, 
the  second  third  tai,  the  third  third  tee;  and  the  Kiluuces  and 
continuations  are  named  in  the  same  manner  as  before. 

Ex.  194. 

TAA        TAI 
1            .1 

TAA 

:1 

-    -    efe 
.,1 

taa  tai    tee 

1  a  J 

TAA 

:1 

TAI 
.1 

d       .r 

:m 

..f 

rt    ,r    (d 

:r 

.d 

m      .r 

:d 

.,r 

in   ,f    ,s 

:f 

.PI 

Ex.  196. 

taatoi      tee 

1  a  a 

toa 

:1 

-ai      tee 

ta-fa    te-f» 
1  ,1    .1    ,1 

TAA 

:1 

TAI 
.1 

d   ,n    ,B 

:n 

.—  «r 

d  ,r  .  PI  ,f 

:8 

.n 

8    (PI    (d 

:in 

-  .f 

8  ,f  .PI  ,r 

:d 

.PI       II 

each  line.    The 
pulse. 

hreo-pniM  mMumre 
■aiiHO  ii  iliim  riirre- 
me,  and  I  he  iM-cnna 
IN  voiiiiiMiiilv  tr<-nt«Mf 
III  urilie  fiirgt  piilHe 
i|!  a  rIx-|iiiIh«  iiivaa 
beuUa  like  a  twa 


p(i,  like  the  other 
-(liviKioDn.  It  is 
cenled  port  of  a 


VAX 

:1 
:d 
:8 


ITAI 
.1 

.d 

.8 


tft-fa  -  te  fie 

:1  ,1  .1  , 
;  m  ,r  .  d  , 
:m  ,f    :s  , 

immnn  turned  to 
iHe  iH  uniiicd  taa, 
llie  KiluuceH  and 
uB  before. 


TAA 

:1 
:r 
:f 

1 
8 

d 


TAI 
.1 

.d 
.PI 

TAI 
.1 

.m 


Id 
In, 


:8| 

at 
at 


KZT  B{2. 

8|  .,8|    :S|    .,8| 

ni.,pii !  Hi  .,ni 

1.  Merry  Rings  the  lark 
•2.  Ronseya,  ronse  ye  now 
3.  Health  and  strength  are  fonnd  in 

d  .,d  :d  .,d    |d  :d 

d|  .,dt  :  d|  .,d|   |  d|         :  d| 


n, 

la. 
la. 
1ft. 

d 


FOITBTH  STEP. 


MERRILY  SINQS  THE  LARK. 


103 


.,8 

.,ni 

the 
the 
the 

.,d 

.,d| 


8| 

break 
mom 
mom 

d 

nil 


1 


:d|,dud| 

Tra  Ilk  la 


I  a, 

ISL, 


^r 

;8, 

of 

ing 

ing 

:t, 
:s, 


\n 

Is, 

day, 
call, 
air, 

id 

Id 


S|  .,S|  :S|  .,S|  I  d 
mi.,ni  tpii  .jPii  I  Hi 

Hear  her  aa    she    sings 
House,  ye  i  -  die    dream 
Beau  -  ty,  youth  and  life 

d  .,d  :d  .,d    |d 
d|  .,d  :d|  .,d    |  d| 


8| 

la, 

tl 


:r  ,r  ,r 

:suS|  j8| 

Tm  la  la 


•  t|  (t|  (t 


S|  ,S|  <S|  I  8| 
Tra  la   la    la, 


Pll 

d 


:  d|  <di  <d|  I  d| 

Tra  la   la     la 


d  jd  jd :  d  4-  «d  |  n 


mi,m'i(ni:rni<-,ni 

Tra  la  la  la        la 

d         :d 

Tra  la 

d        :d 


1 8,         : 

la, 

|d,d«d:d 

la  la  la    la 

|d<d<d:d 


s  (S  (S  :  n 

SitS|(S|:S| 

Tra  la  la  la, 

d  (d  <d  •  n 

Tra  la  la  la, 

dudi«d|:d| 


(Id' 

(llli 


xn  C.    Bound  in  three  parts. 

:d<         |d> 

ring,  ring, 


!l 


Hing, 

m 

birds 


:t',d'.r' 

beautiful 


d< 

chimes 


:8 

are 


are 


In 

sing 


:d 

-ing, 


8 

Per 


:8 

•    fames 


Is 

Ting 


|8 
sweet 


:8|  <S|,8| 
Tra  la  la 
Tra  la  la 
Tra  la    la 

:d  (d  (d 


:si 


:mii 

her 
ers, 
in 

:d 
:d, 


|lul|Ji:li 

Tra  la  la    la, 

|r,r  <r  :f 

Tra  la  la    la, 


fi.fufi:fi 


ing, 


s 


M 


S| 
la, 
la. 
la. 

t. 


:  r  ,r  ,r 

:8|<8i  481 

Tra  la  In 
Tra  la  la 
Tra  la  la 


:8|  ,8|  ,8| 
Tra  la  la 


8| 
la. 


8| 

mor 
one 
ua    • 

d 
Hi 


:r 

:si 
>-y 

and 
•  ture 

:t, 

18, 


\m 

1 81 
lay. 

all, 
fair, 

Id 
Id 


:  PI  <pi«Pi 

:S|  (S|<S| 

Tra  la  lu 
Tra  la  la 
Tra  la  la 

:  d  (d  (d 


r  <r,r  :r  ,-  ^r  |f 


S|  ,SuS|:S|«- 

Tra  la  la  la 

t,         :t| 

Tra  la 


«S| 
la 


8| 


:si 


Is, 

la, 

I  t|  jt|  (t| 
la    la    la 

I  S|  <S|  <S| 


t| 

la. 

S| 


d  (d  «d  :t|<tut|  I  d  :— 


D.  s. 


S|  4S1  <S| :  S|  «8|  481 

Tra  la  la    la  la  la 

n^m^n  :r  <r  ^r 

Tra  la  la    la   la  la 
8|(8|(S|  : 8,481  (8, 


m 

Sing, 


:8  |8  (8     8 
flowers  a  - 1  broad 


:m 

sing, 

:d> 

are 


S| 

la. 

I  PI 
la. 

d, 


in 

sing, 


T.  F.  S. 


:r  4m  if  I 

cheer-i  -  ly  J 


Id' 

fling    - 


:8 

•  ing. 


II 


m 

FOURTH 

STEP. 

NUTTING  SONG. 

KEY  C.                                                                                                                                                                                                                                                ^-  ^-  UnSBLD. 

:8 
:8 

l.Vho 
2.Tlie 
3llu 

:8 
:8 

d'  :— :d'    t  :—  :r' 
n  :—  :n    r  :—  :f 

has           no    sun    -     shine 
yel    -    -low  moon         is 
rah !         the    nuts         are 

8*         vS        B«          vS 

d  :— :d     8  :—  :s 

d'  :—  :1     s    :—  :pi 
PI  :—  :f     PI  :—  :d 

in             his    heart.        May 
clear         and  bright.      The 
drop    -    ping  ripe           In 

8    :— :d'    d'  :— :d' 
d  :—  :d     d  :— :d 

f   :^  :f     1    :—  :s 
r   :—  :r     f  :—  :f 

call           the    au    -     tumn 
si    -    •    lent  up    •    land 
all            the    for    -    est 

t   :—  :t     t   :—  :t 
s   : —  :8     8|  : —  :8| 

8   :—  :—   n  :—  :n.f 
m  :—  :—  d   :—  :d.r 

so        -        -      ber.         But  , 
light        -        -ing.         The 
bow        -        -  ers.         We'll 

d'  :  —  :  —  8    :—  :s 
d  :—  :—  d  :—  :d 

8    :—  :d'    t    :—  :r' 

d'  :— :1      8    :— :d' 

t    :— :t     r'  :d'  :1 

Si               •                  O         •              •  O 

n    :— : n    r   :— :f 

boys         with   puis     -      es 
iiiea    -    dow    grass          is 
climb         as     high           as 

s    :—  :8     s    :—  :8 
d    :—  :d     8    :—  :8 

n  : —  :f      pi  : —  :pi 

leap    -     ing    wild,     Should 
crisp        and    white,   The 
squir    -  rels     go,        We'll 

8    :—  :d'     d'  :—  :8 
d  :—  :d     d  :—  :d 

r    :—  :r     r  :—  :r 

love         the     brown      Oc  - 
frosts       are  keen            and 
shake       them  down         in 

8    :—  :8     fe  :1     :d' 
r    :—  :r     r   :—  :r 

r    :—  :—  r    :—  :r 

to      -     -     -    ber.            A  -    / 
bit    -    -    -    -  ing.            A       *> 
show    -    -    -  ers.           When 

t    :—  :—  t    :—  :t 
8   :—  :—  8    :—  :s 

t    :— :d'    r'  :— :t 
r    : —  :n    f  :—  :f 

long          the    gliide,        and 
shiu    -     ing    moon,       a 
heads        aro    gray,          and 

r'   :—  :d'    t  :—  :r' 

d'  :—  :1      s   :—  :s 
m  :—  :f      n  :—  :  n 

on             the    hill.          The 
frost    -    y        sky,          A 
eyes         are     dim.         We'll 

d'  :— :d'     d'  :— :d' 
d  :—  :d     d  :— :d 

t   :—  :d'    r'  :— :t 
r   :—  :n    f   :—  :f 

rud    -    -  dy    oaks           are 
gust     -     y      mom          to 
call           the    au    -    -  tumn 

r'  :—  :d'    t    :—  :r' 
8   :—  :8     S|  :—  :S| 

d'  :—  :—   n'  :—  :n' 
PI  : —  : —   8    : —  :s 

glow    -    -    -    ing,            And, 
fol    ....  low            To 
8o    -    -    -    -  ber,             But  1 

d'  :-:  -  d'  :- :d'    ^ 
d  :—  :—  d    :—  :d 

r'    :— :r'    d'  :—  :d' 

t    :      :t    |1    :      :1 

8    :—  :d'    t    : —  :r' 

d'  : —  : —  d'  :—  :—  i 

f    :— :f    1  PI  :—  :m 

mer    -    -  ry    winds         are 
drive         the  with      -    ered 
now,          with  life            in 

t     :— :t     1    :— :1 
8    :— :8     1    :— :1 

r   :—  :r     d  :—  :d 

out            by     night.       Thro' 
leaves       a  -    bout,         And 
ev    -    -  ery    limb,         We 

se  : —  rse    1   : —  :1 
n  :—  :n     f  :—  :f 

n  :—  :pi    r   :—  :f 

all              the    for    -     -   ests 
heap         them  in              the 
love          the    brown        Oc  - 

d'  :—  :d'    s   :—  :8 

8    :—  :8     8|  :—  :S| 

PI  :—  :—    m  :—  :  — 

blow        -        -  ing. 
hoi        -        -     low. 
to        -        -      ber. 
«      •         •           fl     •         • 

d    :—  :—   d  :— • :—  i 

i;  CHORUS. 

d'   :— :—  1    :— :— 

di  :—: :_:d' 

t   :— :d'    r'  :— :t 

d'  :—  :r'    |  m' :— :—  ^ 

Ho  1                    ho ! 

1    :— :—  d'  :— :— 

f   :      :      1      :      :f 

ho  I                                   The 

1    :      :            :      :1 

r   :— :n    f    :— :f 

gold    -    en      au    -     tumn 

n  : —  :f    Is  : —  :— 

bright    with,    glee, 

8   :—  :s      8  :—  : — 

f 

f 

•      •            • '  ■■  .  1 

8 

:—  :s    |8|  :—  :8| 

d  :— :d    |d  :- :- 

) 


3.  UKSXIiD. 

1  n  :—  tm.f 
I  d   :—  :d^ 

ber,  But 
-  ing,  The 
.  era,         We'll 

I  s    :—  :8 
Id   :— :d 


s    :- 

-  :s 

r    :- 

-  :r 

ber. 

A 

ing. 

A 

era. 

Wh 

t    :- 

-:t 

s    :- 

-  :s 

n' 


:n' 


s    :— 

:s 

ing, 

And 

low 

To 

ber, 

But 

d'  :  — 

:d' 

d    :- 

:d 

Id'  :  — 
I  n  :  — 

ing. 
low. 
ber. 

Is    :- 
Id  :- 


n 


|8  : 

glee, 

Is  : 
Id  : 


I  m 


d'  :- 

:-    1 

f  :- 

:-    f 

Ho! 

ho! 

1    : 

:-    d' 

f  :- 

:- If 

KEV 


Ak. 


d  :d    :d   | m  :m   :m 
d  :d    :d   |d  :d    :d 

D.C— l.Obeorily,  clieeri  -  ]y 
2.  Heavi  -  ly      Imi'g  is      our 
:].  Help  us,  denr  Lord,  lest  we 

m  :ni   :m   |s    :8    :s 
d  :d    :d    Id   :d    :d 


:d 

the 
•  es 
thy 

:s 


d   ; 

:d 

n  :  — 

s,  :— 

:d 

d   :  — 

Christ  - 

mas 

mora 

hem 

lock  branch 

mem    - 

ber 

then 

n  :— 

:n 

s    :  — 

d  : 

:d 

Id  :- 

FINE. 


A    . ._     . 

u    •  —  ■  — 

• 

S| 

d  •       •       1  - 

• 
• 

n, 

wakes. 

The 

low. 

C.Oi] 

light. 

The 

rn  :—  :—   - 

• 
• 

d 

d|  :—  :—   - 

1— >    •  _. 
• 

d, 

rOUBTH  STEP 

. 

: :-  :d' 

t    :—  :d' 

r'    :—  :t 

d' 

: :-  :f 

The 

: :-  :1 

r    :—  :pi 

hap    -    -  py 

8   :—  :8 

f    :~  :r 

days             for 

8     :—  :8 

n 

me. 
8 

: :—  :f 

8    :—  :8 

s     :—  :8| 

d 

d'  : 
f    : 

ho! 

1    : 

f    :-  :-  I-:- 


I  ~~~  I  —  I  — " 


105 

D.  S. 


CHRISTMAS  CAROL. 


s    :—  :s    I  n   : 
d   :—  :d   jd    : 

sing  we     all, 

Christ   -    mas  tree, 
self     -      ish     be, 

n  :—  :n  |s    : 
d   :—  :d    Id    : 


—  :d 


■  :8, 
-  :8, 

the 
for 
as 

S|  : —  :si   |S|    :—  :si 


:n 

r   : —  :r    |S| 

:d 

t|  : —  :t|     S| 

On 

Christ  -   mas    eve 

'Tis 

bur    -    dened  well 

All 

hearts      are     not 

:s 

s    : —  :8      s 

s    : —  :8    I  n  : —  :m 
d    :—  :d    |d    :—  :d 

sun      -     lij^ht  breaks,       And 
piled         with  snow,  In 

poor  to   -  night,         And 

PI   :—  :n  |s    :—  :s 
d    :—  :d    |d   :—  :d 


li 

fi    :- 

leaves 
giv      - 
hun     - 

d   :  — 

fi    :- 


—  :d    Id    :  — 


:d 

:fi 

are 
eth 

Rry 

:li 

:f. 


In,  :■ 

dead, 

all; 

teed, 

|si   :■ 
Id,  :• 


:s, 
tpij 

The 
The 
The 

:d 
:d, 


r    :- 

ti  :- 

all 
na 
flood 

s    :- 

s,  :- 

li    :- 
fi    :- 

birds 
ni  - 
wan 

d   :- 

f.    :- 


Si    :  — 


:t|    |S|    :- 

the  world 
tive  woods 
their  dark 

:s    I  s    :- 
:si    I  Si    :- 


:d 

:fi 

are 
ens 
d'ver 

:li 

:fi 


:s 

:si 

to 

bend 
noHs 

:s 

:si 


a    :  — 

:si 

PI,  :  — 

:pi. 

fled. 

The 

call. 

He 

lead, 

The 

s,   :  — 

:d 

d,   :- 

:d, 

T 

.  F.  Sewabd. 

n  :  — 

:m 

d   :—  :8| 

Si   :  — 

rs. 

8,  :—  :8| 

shad    - 

0W8 

fall.            On 

you 

and 

mo.            The 

glad 

as 

we.             Re  - 

s    :  — 

:8 

m  :—  :n 

d"  : 

:d 

d   :      :d 

v\  :  — 

• 

r    :—  :  — 

d    : 

• 

t,   : —  :  — 

Klad     - 

-      - 

ness 

not 

so 

with 

thy 

s    :  — 

• 
• 

f      •—  •  — 

s,   :  — 

• 

s,    : —  :  — 

1,    :d 

:d 

d    :—  :d 

f|    :fi 

:f. 

s,   ;—  :8|. 

lit  -  tie 

brooks' tongue      are 

lu'areth    tlieni,   so  let 

sor-rnw-in^      souls,  the 

d   :1,    :1,    |s,   :—  :d 
f,   :f,    :f,    |n,  :■ 


r  :- 
fe,:- 

tied 
ns 
cap  - 

d:- 


:n  |r  :- 

:fe,|8,  :- 

with  cold; 
be  -  gin, 
tive  free, 

:d  It,  :- 


r,:-  :ri  |8|:- 


:s, 
:in. 

But 
He 
And 

:d 
:d, 


1,  :-  :d  |d  :-  :S| 
f,  :-  :f|  I  n,:-  rm, 

bells  may  ring,  and 
hears  al  -  way  when 
think,  we     pray,   on 

d  :-  :1|  |8|  :-  :d 

fi  :-  :f|  |d|  :-  :d| 


1,  :-  :d  jd  :-  :s, 

f,  :-  :f,  I  n,:-  :n, 

chil  -  dren  sing.  For 

chil  -  dren  pray,  For 

this  glad  day,  Of 

d  :-  :1|  Is,  :-  :d 

fi  :-  :f|  |d| :-  :d| 


li  :-  :d  |d  :-  :d 

fi  :-  :f,  |8| :-  :8, 

safe  is     our  dear 

he  him-self  a 

those  who  have  no 

d  :-  :1,  Is, :-  :d 

fi  :-  :f|  I  r'i|:-  :ni 


:mi 


,/rN    D.  c. 
m:-  :r  |r  :-  :- 

fe,:-  :fei|s,  :-  :- 

Shep- herd's  fold, 
child     hath  been. 
Christ -mas  tree. 

d  :-  :d  |t|  :-  :- 

r,:-  :r,  |8|  :-  :- 


irrea 


106 


KEY  AIZ. 

d     :  — 

d 

:d 

d 

8,    : 

li 

:li 

B| 

Come 

an 

-   to 

me 

tn    :  — 

f 

:f 

n 

d,    :- 

d, 

:d, 

d, 

FOURTH    STEP. 
COME  UNTO  ME.    No.  2. 


n    :  — 

f 

:f 

n 

8,     :- 

li 

:1| 

S| 

Come 

un 

-  to 

me, 

d   •:- 

Id 

:d 

d 

d,    :- 

di 

:d, 

d, 

I-    :d 

I—    :8| 

all 

I-    :d 

I—   5n, 


r.  F.  Sbwabd. 

:ti    Id     :f 


fi     :si 

ye 

d     :r 

d 

f|     :- 

n. 

•B| 

that 

:t, 


n 

:ip 

Id 

:n 

r 

8| 

:8, 

8| 

:8| 

8| 

la 

-  bor 

and 

are 

hea 

d 

:d 

n 

:d 

t, 

d| 

:d, 

di 

:d, 

Tl 

V 


1 
d 

8| 


d  Ir  :t, 

rii  |fi  :f| 

will  give  you 

d  jt,  :r 

8,  |8|  :si 


pii 

roat. 

d 


d     :l| 

8| 

:8, 

fei   :  — 

8| 

:8, 

vy 

la  - 

den; 

1,     :d 

tl 

:t, 

r,    :  — 

8| 

5  8, 

n 

Take 

d 


Id 

my 

In, 


8,     :m 

|r 

8| 
Tin 

t, 

:d 

:8, 

■    to 

:d 

1| 

m,    :8| 

Come 

d    :- 

f| 

me, 

d 

d|    :- 

r. 

:m. 

fi 

8^:8 

Take  my 

t,    :t, 

f 

yoke 
1| 

:f 

up  - 
-.8, 

n 

on 
8| 

r     :  — 

yoke 

s,    :  — 

d 

up 

ll 

:r 

:t, 

d 

on 

d 

d 

• 

re, 

• 

and 

d 

• 

fei 

Id 

:d 

you 

and 

8| 

5  8, 

d 

:d 

yon 

and 

n, 

:mi 

d  :       1,    :- 

Ic^u-n         of 

s,   : 

me; 

— 

:si 

For 

li  :-  Hi    :- 

I                am 

t,  :- 

meek 

d 

and 

• 
• 

f   :f      m    :— 

low-ly      of 

r    :—  1—  :r 

heart.               And 

li   :-    fi    :- 

n,  :  — 

1- 

:mi 

fi  :-    fi    :- 

8,  : 

|8, 

t 
•  ■■'■ 

8|  :S|    8,    : 

8,   :—  1—  :s, 

d  :—    d    :- 

learn         of 

fi   :-    li    :- 

d  : 

uie; 

d  :- 

rprp 

8,  :  — 

rest 

n,  :  — 
d  :~ 

rest 

d,:- 

1- 

• 
t 

• 
• 

d  :d     d    :d 

Take  my  yoke  up  - 

fi  :fi    |fi    :fi 

r   :— 

on 

fi  :- 

Id 
you 

|n. 

:d 

and 

rn. 

t|  :~   d    :— 

learn         of 

r,  :—   d,   :— 

t,  :—  1—  :t, 

me;                   And 

s,   :—    —  :s. 

9 
n  :n     d    :  — 

ye  shall  find 

S|  :si     n,  :  — 
d  :d     d   :- 

ye  shall  find 

d,  :d.  Id,  :— • 

8| 
un 

jn, 

Id 

un 

jn, 

;  — 

S|  :—  |s,    :  — 

to              your 

r,  :mi   f,    :r, 

8i  :  — 

souls, 

m,:  — 
d  :- 

bouIb, 

d,  :- 

n 

For 

Is, 
Id 

For 

d. 

:n 

my 

:s, 
:d 

my 

:d, 

m  :d     f    :n 

yoke            is 

S|  :ni    1,    :8, 
d  :—  Id  :- 

yoke           is 

d,  :—  Id,  :  — 

8    :f     n    :r 

eas  -  y      and    my 

ta,  :1|     8,    :l. 

t,  :d    |r    :t| 

to              your 

8,   :—  |s,   :  — 

n    :f    |8     :f 

eas  -  y      and     my 

dei  :ri     v\\  :fi 

:f 

:8| 

that 

:t, 


:d 

and 

:8, 
:d 

and 

:mi 


:r 

And 

:s, 
:t, 

And 

:si 


|n    :r 

and    my 

Is,    :li 
Is     :f 

and     my 

I  Hi  :fi 


d  :•-  I- 

light. 

8,  :—  I  — 
n  :—  I— 

light. 

d,:-  I- 


POURTI 

i   STEP. 

d  :- 

r 

:-.r 

n  :  — 

Gomo 

in 

-     to 

me. 

m,  :8| 

Is, 

:-.8| 

8,  :  — 

d  :- 

t| 

:-.t| 

d  :- 

Come 

un 

-     to 

me. 

d|  :mi 

S| 

:-.8| 

d  : 

107 


rit.  'PP 

f  :rn     r 

:-.d 

d  : 

Come        un 

-    to 

me. 

fi  :8,     f. 

5— .nil 

m, : 

d  :—   t, 

:-.d 

d  : 

Gome        un 

-    to 

me. 

1,  :d     8, 

:-.d, 

d,  : 

KEY  Aiz.    M.  120. 


EVERY  DAY  HATH  TOIL  AND  TBOUBjJE. 


BSBTBOTSr. 


n      :n 

f 

:8 

s      :f        n 

:r 

d      :d 

r 

:n 

n      :  — 

r 

s,      :s, 

8| 

:8| 

S|     :I|  .t,    d 

:s, 

8,         18, 

s. 

:8| 

8,         ••  — 

1  — 

\  1.  Ev  -  ery 

day 

hath 

toil      and       troub 

-  le. 

Ev    -  ery 

1 

heart 

hath 

1 
care; 

1 

2.  Pa  -  tient 

■  ly 

en    - 

dur  -  ing        ev    - 

-  er 

Let      thy 

spir 

-    it 

be 

3.  La  -  bqr  I 

4                      • 

wait! 

though 

mid  -  night    shad 

-  ows 

Gath  -  er 

round 

thee 

here, 

d      :d 
d      :d 

r 
d 

:n 
:d 

n      :r        d 

:t, 

d       :d 

It| 

:d 

d      :  — 

ti 

8,     :s,        S| 

:f| 

n|     :ni 

fl 

:d, 

8,      :  — 

— 

fi     :n 

s,      :si 

f 

S| 

:8 

:s. 

8       :f        n 

S|      :1|  .t|   d 

:r 

:8, 

d      :d 

s,     :8, 

r 

Sj 

:n 

:si 

r       :  — 

d 

f,       :- 

n. 

1  Meek  -  ly 

bear 

thine 

own       full     bur 

-    den. 

And      thy 

broth 

-  er's 

share. 

'  Bound,  by 

links 

that 

can    -   not      sev    - 

er. 

To       hu    - 

man 

-    i    -    - 

ty. 

1  And      the 

storm 

a    -    ■ 

bove      thee    low    • 

•    'ring 

Fills    thy 

heart 

with 

fear 

d      :d 

r 

:m 

m      :r        d 

:t, 

d      :d 

|t| 

:d 

t,      :- 

d 

d      :d 

d 

:d 

S|      :s,        8, 

:f. 

n,     :ni 

r. 

:d. 

8,      :  — 

di 

r      :r 

tn 

:d 

r      :n  .f  In 

:d 

r       :n .] 

f    n 

:r 

d       :r 

S| 

8i      :s. 

s. 

:s, 

s,      :s,        s, 

:si 

S|      :8| 

S| 

tse. 

li       :  fe, 

heart    mayi 
task      is 

Si 

Fear    not. 
La    -  borl 

shrink 
wait! 

not, 
thy 

though  the      bur    - 
crown     is        read 

den 

-  y 

Heav  -    y    ' 
When    th]^ 

to 
•wea 

thy 

-   ry 

prove; 
done; 

Wait    in 

hope, 

the 

mom  -  ing      dawn  ■ 

•  eth, 

When    the 

gloom 

-  y 

night    is 

gone; 

t|       :ti 

d 

:n 

t|      :d  .r    d 

:n 

tj      :d  .1 

•    d 

:n 

n      :r  .d   t| 

8i      :si 

d 

:d 

S|      :si        d 

:d 

s,      :8| 

d 

:t, 

li      :r, 

Is, 

n      :n 

f 

:s 

8       :f        n 

:r 

d       :d 

r 

:n 

r       :— 

d 

S|      :d 

God    shall 

t, 

fiU 

:tai 

thy 

1|       :li        li 

mouth  with      glad    • 

:1| 

•  nees, 

8,      :s, 

And    thy 

heart 

:ni 

with 

f,       :- 

n, 

love. 

Count  not 

lost 

the 

fleet  -  ing       mo    - 

ments. 

Life    has 

but 

be    -    - 

gun. 

And     a 

peace 

-  ful 

rest       a    -    waits 

thee, 

\Vhen  thy 

work 

is 

done. 

d      :m 

r 

:de 

r       :r        8 

:f 

n     :n 

r 

:d 

t,      :- 

Id 

di     :d| 

r. 

rn. 

f|      :fi       l[fi 

:fi 

8|     :si 

|S| 

:8| 

8,      :  — 

d. 

108 

Os&OB  J.Fbamoss. 

:8     8    :n  :f    |s  :d' 
:d     d  :d   :r    I m  :m 

\l.  I        dreamed  that  afar   I 

'2.  The  carcH  of     my    life  in 

)3.  That     voice  in    my  heart  I 

:m     m  :s    :s    I  d'  :s 
:d     d   :d   :d   Id  :d 


FOUBTH  STEP. 
THE  SWEET  VOICE. 


:d< 

d'  :— :— It    :— :1 

:m 

f   :— :—  f   :— :f 

bud 

wan      -      -      dered,       And 

a 

mo       -       -      ment       Were 

will 

cher      -      -     ish,           And 

:ta 

1    :— :—  d'  :— :d' 

:d 

fi   :— :—  f|  :— :f, 

8    :.r  :pi  jf  :m   :r 

f   :t|  :d  |t|  :t|   :t| 

stood  on   tt  des-ert    a  - 

lost    in  a  thrill  of     de- 

whenl  am   sad    and  op- 

t    :f  :m  |r  :8    :8 

S|  :S|  :S|  |S|  :S|   :S| 


HuBiBT  P.  Maim,  by  pas 


d  :-:■ 

lone; 
light; 
preHHed ; 

8«        •  _ 

d  :-:- 


B|  :d    :r    In   :f  :pi 

S|  :S|    :S|   |S|    :S|  :S| 

voire  o'er  my     spir-it  came 

(IcKi'il  triinsioruieil     to  a 

ec  -  lio,    per  -  Imps,  in  my 

d  :  d    :  t|   |  d    :  r  :  d 

mi  :f1|  :ri   |d|   :t2  :d| 


r  : — 

voice, 

t,  :- 

voice, 

8    :  — 

voice, 

s,  :  — 
1    :— 

Where, 

d  :  — 
f   :  — 

Where, 

fi  :- 
r   : — 

voice, 

:t, 

Sil- 
ts 

:8| 


t,    It,    :- 

Bweet  voice, 

s     |s     :  — 

Kweet  voice, 


:f 

Kwoet 

:r 

Bweet 

:s 

sweet 

:si 


—  |1    :t    :d' 

where  is     the 

—  If    :f    :f 

—  1 1    :  se  :  1 

where  is     the 

-|fi    :fi    :fi 

—  I —  : —  :8 

Sweet 

t|   It,   :—  : 

ver    voice, 

8    |8    :—  : 
8|   l8i  :—  : 


m  :—  :—  |r   :—  :li 


fi   :■ 

Kteal 

f,'iir 

slum 

1|    :- 


l.fi   ' 

in^; 
den, 
her 

Hi   : 


I 

How 
Where 
Will 

:d 


:-  If. 


:f. 


m  :- 

voice, 

d   :- 

voice, 

s    :- 

voice, 

d   :- 

n'  :- 

bliss 

n  :- 


S|    |s,   :- 

sweet  voice, 

n   I  n   :- 

sweet  voice. 


:d' 

it 


is    :- 

gnve? 

Id   :- 


s    : —  :s    I  n   :— 

bliss  it      gave? 

d  :—  :d   Id   :  — 


n  :—  :— I—  :  — 

voice, 

:S|   :8|  |si   :— 

Sil  -  ver    voice, 

:n  :n  In  :— 
:d   :d   Id  :  — 


8 

That 

d 

That 

m 


d    :—  :d 


ni  :■ 

Koft 

all 
culm 

d    : 

s,    :  — 


:mi 

itH 

WHS 

my 

:d 


s    :  — 

Dear 

d    :  — 

Dear 

rn   :  — 

Dear 

d    :  — 


r    :n 

Why  is 

d    :d 
1     :s 

^Vhyi8 

f    :in 


:f 

the 

:d 
:1 

the 

:r 


t    :— :1 

made       my 

t|    I  —  !  t| 
made       my 

r    :—  :r 


fi    :fi    :fi 

niiis-ic  -  111 
love-ly     mil 
sor  -  row  tf) 

r    :  r    :  i 


S|   :si    :S| 


8t 


:8| 


ti   :li    :t 


f.  Dl? 


:r 

ion 

:t, 
:f 

ion 

:si 
:f 

in   -    •    most 

t|  :—  :r 

in   •    -    most 

r   :8    :8 


m  :- 

vis 

ti   :- 
8    :- 

vis 

S|  :- 
s    :r 


Sweet  1 

-I-:-:  d/ 


»s  :—  : —  I —  : —  :  m 

Sweet  i 

".t|:—  : 

tone, 

bright 

rest. 

dg  :  — 

d,S,!  — 


Sweet' 


:d' 

:n 

lov 

-ing 

:n 

:d 

lov 

-ing 

:s 

:s 

lov 

-ing 

:d 

:d 

8|  :—  :8| 


'■S| 


s    : — 

voice! 

d    :— 

voice! 

m   :  — 

voice! 

d    :- 


d   :- 

o'er? 

d   :— 

m   : — 

o'er? 

d   :— 
m  :d' 

soul 

d  ;n 

soul 

8   :  — 

d  :— 


Swoet  I 

:  d  ' 


1 

re  ■ 

re 

re  ■ 

fe 
d 


8 

Sweet  1 


8    : 

joice. 

m  : 

joice. 

8    : 


d   :- 


-\ 


by  pes 


:  n 

Sweet  I 

:  d/ 

Sweet; 


tice, 

n 

>ice. 
I 


Sweet 


FOURTH  BTtP. 


I 

f 

Oh! 

d> 

fi 


UT  Bt?. 


11    :t     :d> 

m> 

:  —  : 

f    :f    :f 

Bay,  was       it 

1    :se   :1 

m 

all 
8 

fi   :fi    :f. 

d 

:  —  ; 

d'  Is    :-   :- 

r    :in    :f 

n   :—  :r 

d    :-  : 

n   |d    :—  :  — 

d    :d    :d 

t,    :-  :t, 

d    :-_  :_    - 

a      dream, 

Gone  to      re  • 

turn            no 

more. 

s      n  :—   :  — 

1     :s     :1 

s    :-  :f 

m   :—  :—    — 

d     d   :-  :- 

f    :n   :r 

8|  :—  :8, 

d   :-:--    - 

SABBATH  EVENING. 

B.  G.  Unbjeld 

109 


mitf, 

:fe|  |S|   :—  :d 

d   : 

:t, 

t,   : 

d,  :r, 

tre,   m,  :—  :S| 

fi   :- 

:f| 

f|    : 

i.Lin    - 

ger    still,            0 

bleBB    • 

ed 

hoUTB, 

2.Sa     - 

cred  Bongs,        0 

do 

not 

cease; 

3.  'Tis 

the    third       watch. 

blesB    - 

ed 

Lord, 

8,  :  — 

:d     d   :—  :n 

r    :  — 

:r 

r    :■ 

d,:-- 

:d|    d|  :—  :d| 

S|  :  — 

:8, 

8,   : 

ti   :1 


f|    :- 

Slow    - 

Sweet 

Come, 

t|    :—  :t| 

S|   :—  :8,   |8| 


:8|    |f|    :—  :1, 
:ni  Ir,   :—  :f, 

ly      fade,        sweet 
your  ech    -      oes 
oh,     come        with 

tj     : —  :t| 


m,  ;f|    tfei  Is,   : —  :m 
d|  ;ri   :rei|  m,  :—  ts. 

Still  de  -  Bcend,         ye 

Sonnda     of     praise        and 
Thro'        this  si    -     -    lence 

8|  :—  :d   |d   :—  :d 
d|  :—  :d|  |d|  :—  :d| 


m   :—  :r    |d    :—  :d 

se, :  —  :  se,  11,    :  —  :  1, 

heaven  -  ly     Bhowers, 

hymns       of     peace, 

speak         the   word  Of 

t,  : —  :t|  |1|    :—  :!, 


n,  :—  :ni  |1| 


:1 


d    :t|    :1|    |S| 


re,:  — 

Back 

Min 

life 

li   :t, 


!  m.   !  — 


:re,  jm, 

ward  roll, 
gle  with 
and    lib 

:d    Id    : 


fe, :  —  :  fe,  1 8| 


:8| 

:t, 

:f|. 
o 

my 
er  - 

:r 

:8i 


M 


f.    :- 


:— |8,   :  — 
n,  :  — 


light, . 
are,  . . 
me,  . . 

d  :- 
d,  :- 


PW£. 

:—  :—  Id    : —  : 


L| 


pij  : —  ? 


night!, 
prayer 

ty 

ti   :- 


d    :—  : 


8,  : —  : —  1  d|  :  —  : 


F.t. 

t,n:f 

:fe    8    : — 
:re    n  :— 

ry      still, 
sy      world, 
my    hand. 

:d' 
:m 

0 

Ue 

nor 

d'  :— 
n   :— 

Ba    -    - 

Btill 

let 

:t     t    : 
:r     r    :— 

cred  Dove, 
and   sleep, 
it       go. 

e  _^^ 
• 

• 

r    :de 
tj  :lei 

In 
Far 
Je    -    - 

:r     1    : 

:t|     r    :  — 

this    worth     - 
a    -    way 

BUR,    Sav 

:s 
:n 

less 
from 
ionr, 

fe  : 

• 1  e      • .   •        \ 

Bid  :r 

re  :— 

• .  m  •  .  •  1 
•          I'l    •        •       f 

Tar     - 

breast, . . 
ine 

f 

Bu      - 

\ 

Clasp 

Friend, . 

V 

rs  :  — 

:s     8    :  — 

:8 

8    :  — 

:8 

8    :  — 

• 
• 

s    :  — 

:8    If    :  — 

:m 

1    : 

•  e       •      .    •          1 

•  o         •              •             1 

Sid:  — 

:d     d   : 

:d 

8|  :  — 

:8, 

8,   :  — 

e  ^__ 
• 

s,  :  — 

:si     tj   :  — 

:d 

d    : 

e                                •                • 

m  :f 

:fe    8    :  — 

:d' 

d'  :  — 

:t 

t    :— 

:t 

t    :1 

:8      f    :  — 

:t, 

r    :  — 

'   "''.D.G.litT.nfc 

:—   dg,  :_  : 

d  :r 

:re  |:j   :— 

:n 

n  :  — 

:r 

r    :— 

:r 

r    :d 

:t|     r   : — 

:8, 

ti  :- 

: —  |ds|  :—  : 

Gome 
Heart 
Thy 

from  thine 
of      mine, 
rich  grace 

a  - 

oh, 

Btm 

bode 
wake    - 
let 

a  • 

{xs\ 
me 

bove, 
keep, 
know. 

And 

Make 
Je    -    - 
love 

with  me 
SUB     calls 
me     to 

thy 
for 
the 

rest 

thee!  .. 
end 

» 

8   :— 

:8     8    :— 

:8 

8    :— 

:8 

8    :— 

:8 

8    :  — 

:8     8    : — 

:f 

f   :- 

:—   nt,:—  : 

d  :- 

:d     d   : 

:d 

8,  :— 

:8, 

8,   :— 

:8| 

8,   :  — 

:8|     8,  :  — 

:si 

8,  :  — 

:—  |d8|  :—  : 

110 


POUKTH   STEP. 


OEonas  Bbnmbtt. 
Key  AtZ. 

S|    :si     |S|     :S| 
nil  :  nil    |f|     :f| 

1 .  Once  a  -  gain     we're 

2.  When  I'm  far      a  -    - 

3.  Faith  and  trust  in 

d    :d     |t|     :t| 
d,   :d|     |r,     :ri 


HOPE  WILL  BANISH  SORROW. 


EoBEBT  P.  I^Iaxn,  by  per. 


8|    ;1|  .t| 
f|     :fi 

doom'd  to 
way    from 
heav'n  we 

t|    id.r 
S|    :s, 


Id     :- 
jn,    :  — 

part, 
thee, 
have, 

Id     :- 
Hi     :- 


1|    :li 
fi    :fi 

Doem  not 
O'er  the 
Ood    is 

d    :d 

f,    :f, 


It, 
|f| 

'tis 
o    • 
ev 

Is, 
|r, 


Id 

r 

:pi, 

for  - 

fl 

ev    ■ 

cean 

sail 

er 

near 

rs. 

t| 

:d| 

S| 

:-   Id 

-  In, 

-    -   er; 

-    -    -ing, 

-    -    est; 

-  Id 

-  Id, 


S|    :s, 
m,  :f, 

Love,  if 
You   will 
He      can 

d    :r 
d   :t| 


Id     :d 


|n, 

root  • 
oft 
still 

Id 
Hi 


:s, 

ed 
'  en 

the 

:d 
:mi 


d    :r 
I,    :lai 

in  the 
muse  of 
storm-v 

d    :d 

f|    :fi 


|n    :  — 
Is,     :— 

heart 

me, 

wave, 

Id     :- 
Id,    :- 


r    :s. 

d 

:t, 

li 

S|    :s. 

r. 

:s. 

fe. 

Time  nor 

tide 

can 

sev 

Tears  and 

sighs 

pre- 

vail 

Bear  me 

safe- 

ly 

dear 

t,    :t| 

ll 

:si 

d 

r,    :r. 

|r, 

:r, 

ri 

Is, 
Is, 

■er; 

-ing; 
est; 

It, 

|8, 


1  PI    :-.m  |r  :d 

S|    i-.S;  |f,  :m, 

'Tis       the    sad      a  - 
But     ne'er  think  of 

Then  fare-well  icy 

d    :-.d  |t|  :d 

d    :-.d  |S|  :1| 


t,   :-.t||d    :m 

S|   :-.S||S|  :si 

Make  the  parting 
Check  at  once  the 
Clasp  me  to    thy 

f    :-.f  I  m   :d 

8,   :-.s,  |S|   :S| 


BaU. 

n  :r    Ir    :— 
s,   :s,   is,   ;f, 

sadder  still, 
ris  -  ing  tear, 
heart  once  more, 

d    :t|    |t,   :— 
si  :8|    |S|    :— 


f    :n     |r     : 

1,     :si     Is,    : 

dieus  that  chill, 
me  with  fear, 
na  -    tive     shore, 

d     :d      It,     : 
f,    :d,     |s,     : 

/9\ 


d    :-.d  t,  :d 

d    :—    r    : 

s    :-.d  t,  :d 

r   :— 

!d 

n,  J-.s,  f,  J  n. 

n,  :—    s,  : 

s,   t-.s,  f,  :n. 

fi  '- 

n. 

Say  "we'll  meet  to- 

mor    -    row," 

Hope  will  banish 

Bor    - 

-  row. 

Sing  "we'll  meet  lo- 

mor   -    row," 

Hope  will  banish 

Bor    - 

-  row. 

sing  "we'll  meet  to- 

mor    -    row," 

Hope  will  banish 

Bor    - 

-  row. 

d   :-.d   s,  :S| 

d    :—    t,  : 

d   :-.d  s,  :si 

ti  :- 

d 

d|  :-%ni  r,  :d. 

li    :—    s,   :f. 

m,  :-.n;  r,  'd, 

Si  :— 

d, 

.^x  F. 

8      :n.d|l  •- .1 

d      :d  .d|d  :-  .d 

1.  Fa-thor!I    long,  I 

2.  There  all  the  heaven    -    ly 

3.  Fa  -  ther !  I    long,  I 

m      :8  .n  |f  :-  .f 

Id      :d.d|f,  :-.f, 


8 

t| 

faint, 
hosts 
faint, 

r 


;r.f 

;t,.r 

to 

are 

to 

:s 


8|       :s. 


in 
Id 

see 

seen, 

see 

is 
Id 


LANODON.    C.  M. 

:d  .r 


T.  p.  SEWikBO. 


:-  .  n 
:-.d 

The 
In 

The 

:-.l| 


n 
d 

place 
shin  - 
place 

1 

1| 


:li  .t, 

of 

ing 

of 

:n 
:1| 


in 
Id 

thine 
ranks 
thine 

In 
Hi 


:fe 
:d 

a  - 
they 
a     - 

:r 
:r 


ti 

bode; 
move, 
bode; 

r 

S| 


I- 
I- 


.8 

.d 

I'd  I 

AnA) 

I'd  I 

.m 
.d 


tm.djl 
:d      Id 

thine    earth 
-   Lior 
thine    earth 


:-  .r 

:-  .t, 

-  ly 

•      tal 

-  ly 
:-  .8 

:-.f 


8       :d 
d       :d 

courts,  and 
vig    -   or 
courts,  and 

8       :8 

PI      :m 


If 
It, 

flee 

in, 

be 

Is 
Ir 


•  _ 
• 

•  .r 

n 

:8(j 

t  — 
• 

-.t. 

d 

:li 

Up 

to 

thy 

With 

won 

■  der 

For- 

ev    - 

er 

• 

-  .8 

8 

:f 

• 

-.8, 

d 

:fi 

|8| 
Beat, 

and 

with 

In 

|S| 


:t, 

d 

:si 

my 
with 

8| 

Ood! 

love. 

my 

Ood. 

:r 

m 

:8i 

d 

1-  I- 


1-  1- 


FOURTH  STEP. 


Ill 


:si 

ed 
-  en 
the 

:d 
:mi 


'd 

I  mi 

-  row. 
■  row. 
•  row. 

Id 
Id, 


.8 

.d 

I'd, 

AxlaS 

rd| 
.n 
.d 


e.  H.  Hatdkn. 
IKET  D.     M.  108. 

EV] 

SNING 

ON  TI 

IE  LAKE. 

M.  L 

.  Babtlxtt 

,  by  per. 

:s   .d< 

t         :1         |8 

:8    .f 

PI        : 

1             8          :1     . 

t 

d' 

:8 

11  . 

8  :f    .  I»l 

:  PI 

8         :f         |m 

:d 

d         : 

-  .t,    d        :f 

PI 

:  n 

If  . 

PI  :r  .d 

1.  Now 

2.  The 

3.  We 

:  S 

bright  -  ly             on 
eve     -     ning         breez 
gai     -      ly             dip 

8         :1    .t  |d> 

the 

•   es 
the 

:1    .la 

yield   - 
gent    - 
gleam  - 

8         : 

ing          wave,        The 
ly             blow,        A 
ing          oar,          And 

f          m        :1   . 

la 

moon's     soft 
sweet        re 
on      -      ward 

8         :d< 

rays 

fresh 

now 

d' 

are 

-     ment 

are 

:8 

:d 

d        :d          d 

:d 

d 

d          d         :d 

d 

:d 

d 

:t|  .d 

n 

:—         r          :s    . 

d' 

t          :1 

8          :s    .  f 

PI 

:1 

8 

:d 

d 

:—         t|         :d   . 

PI 

8            .f 

PI         :d 

d 

:-  .  t| 

d 

:  PI 

glano 
bring 
dash 

ing;            The 
ing,             As 
ing,            While 

spark    -    ling 
on        -      ward 
faint          and 

wa        -      ter 
blithe    -    some    - 
faint     -      er 

seems 

ly 

gl'OWS 

to 

we 

the 

move, 

go 
shore 

As 

Our 

On 

S 

:—         8          :8 

8          :1    . 

t     d'         :1    .la 

S 

:f 

irn 

:8 

S 

:—         8          :  m    . 

_d 

d          :d 

d          :d 

d 

:d 

d 

:d 

t     .1 

:8    .1     t          :1 

1          :  — 

8          :8 

8    .r' 

:t    .1 

8 

:8 

r 

:r           r         :n   . 

fe 

fe        : 

8          :8 

f 

:f 

f 

:f 

if 

mer     - 
which 

s    .d< 

with           joy            'twere 
ry               cho      -     ruB 
the              waves        are 

:t    .d'    r'         :d' 

dano 
sing 
plash 

d'         :  — 

ing,            And 
ing.           Our ' 
ing.           We 

t          :t 

we 
wa 
bid 

t 

are 
fry 
each 

:r'  .d 

full 

path 

thought 

t 

of 

way 

of 

:t 

r 

:r           r          :r 

r          :  — 

8          :s 

8 

:8 

8 

:8 

E    .  n' 

:  d'   .  1    8          : 8 

1    .t    :d' 

d'         :r' 

n' 

■ 
• 

._ 

:8 

m 

;.'  f         1  n         :  PI 

f          :8 

m         :1 

86 

•   1, 
• 

— 

:f 

an        . 
gleams 
sor 

Rweriiig    glee,          With 
with          light,         The 
row          flee,           Caro 

bap      -      py 
hour           is 
to               the 

hearts          we 
full              of 
winds          we 

sing, 

joy. 

fling. 

And 

All 

And 

d' 

:1     .d'  d'         :d' 

d'         :d' 

Id'         :1 

t 

• 
• 

1- 

:t 

d 

:d          d         :d 

f          :n 

1           :f 

m 

« 

— 

:r 

8  .  n': 

pi'.r'  r'  .d'  :8  .se 

1 

r'  :r'.d'  d'.t 

:s 

1  .t  :d'.r 

1  n< 

:r' 

d'       :- 

—       — 

PI  .8   : 

f        PI       :d 

f 

:fe        8 

:d .  PI 

f        :8  .1 

8 

:f 

PI       :- 

_       — 

fiir 
na 
far 

a     -      crosB        the 
ture      smiles     on 
a     -      cross        the 

wa 
us 
wa 

-  ters        free, 
to     -     night, 

-  ters        free. 

Our 

No 

Our 

mer     -     ry 
trou     -     ble 
mer    -     ry 

notes 
shall 

notes 

shall 
an    - 
shall 

ring, 
nny. 
rinj?. 

• 

d'       : 

t        d'      :  d' 

d< 

:r'        r' 

:d' 

d' .  r'  :  d' 

d' 

:t 

d'       :- 

—       — 

d        : 

86      i  1        :  m 

f 

:r 

8 

:rn  .d 

f  .r  :pi  .1 

ris 

:  s 

d        : 

—       — 

im 


112 


KIT  C. 


di 
m 

1.  Bim, 

2.  Bim, 

S 


:1    .1 

:f  .f 

bim,  bim, 
bim,  bim, 

:I    .1 
:f  .f 


d> 
n 

bim, 
bim, 

8 


FOURTH  STEP. 
aOOD  NIQHT. 

1 


It 

m 

Bim, 
Bim, 

t 
I 


GUSTATI  CaBDUiL 


:1    .1 
:f   .f 

bim,  bim, 
bim,  bim, 

:1    .1 
:f   .f 


d> 
m 

bim, 
bim, 

8 


:di 
:re 

now 
ye 

:fe 


:1, 


d'   .d>    :r'    .t 
n    .  n    :f    .r 

Hounds  the   mid  -  night 
zeph-yrs      lend    your 

8       •  S       •  S       •  S 

8|     .  8|      :  S|      .  8| 


d' 
n 

LOQT, 

aid, 
8 


D.C. 


r 

Hark! 


8| 
Bim, 


:le    , 

le 

:de  . 

de 

how 

the 

:8 

Bim, 

• 
• 

i     .t     :d'    .d' 
r    .r     :  n    .  n 

chimes  are    ring  -  ing. 


8| 
bim, 


!S 

bim. 


r' 
f 

Voio 


8| 

bim. 


:di    .di 


:  m 

■    es 

:8 

bim, 
I 


your 


t      .1 

r    .d 

way     be 


8| 
bim, 


:s     .8 

:  tj    .  t| 

wing  -  ing, 

;s 

bim. 


r 

High 


8| 
bim. 


le   .le 
de  .  de 


to 

8 

bim. 


our 


t     .  t     :  d« 
r     .r     :  n 

la   -    dy'B    bower, 

:8 

bim, 

8, 
bim, 


f 

Charm 


8| 
bim, 


:  de>  .  de' 
:  n    .  m 

her      with 

:s 

bim. 


r'    .  de'  :  r'    .  re' 


f    .  n 

ma  r  gio 


8| 
bim. 


:f    .fe 

pow  -  er, 

:8 

bim. 


n'  .t 

:d' 

.1 

8     .d' 

:8     .8 

8     .1 

:f 

.f 

n    .  n 

:m    .  d 

^Vhile 

we 

our 

watch  are 

keep  -  ing. 

d> 

:d' 

.d< 

d>    .8 

:8    .  m 

d 

:d 

.d 

d    .d 

:d    .d 

8 A  :  t     .  d' 

t| ._d  :r    .  n 

May  she      in 

r  :8    . 8 

8|  :  8     .  8 


r'    .  de'  :  r' 

f    .n  :f 

slum  -  ber  light, 

t     :  le  :  t 

8     :8  :8 


n'  .t 


Calm 


:d' 
:1 

and 

:d' 
:d 


I 
f 

se 

d> 
d 


d'    :8 
m    :m 


m 


cure  be       sleep  -  ing. 


d'   .8     :8 
d    .d    :d 


n 


So 


let 


d' 
m 


ns 


r'    .  n'   :  d' 
f    .8     m 

say     good  night. 

t    .8     :8 


li 


Calm 


be 


our 


fe 


la   •   dy       sleep -ing, 


■ 

FOURTH  STEP. 

t 

:t 

.t 

t     .le    :t 

r»            :r'    .r' 

r'    .de"  :r' 

n' 

* 

8 

So 

:8 

let 
1 

.8 

OS 

8.8:8 

Bay     good  night, 

8               :8      .8 

So                 let       UB 

t             :t     .t 

8.8     :s 

• 

say     good   night, 

t     .le    :t 

8 

Good 

• 

: 

.,  t  ' 

:       -  r 

8               :8      .  8 

s     .8      :8 

« ,  • 

1 

11$ 


m 

night, 


S 
Good 

tn 


n 

night, 

d 


.rn' 

.  8 

good 


di 

PI 

night. 


.n' 

.8 

good 


.8     :8 

good    night, 

.d     :d 


d< 
n 

night. 


.Pi' 


.  8 

good 


.8     :8 

good    night, 

.d     :d 


night. 


good 


8     :8 

good  night. 


8 


8 


tn 

night, 


8 


8 


n' 

8 

good 


good  night. 


d> 
n 

night, 


good 


n' 


good 


night. 


d< 
n 

night, 


good 


n' 


good 


night. 


light. 


good 


good 


night, 


d> 
n 

night, 


m 
d 

la, 


m 


la. 


tn 

la. 


n 

la. 


di 
n 

la, 


di 
n 

la, 


n' 


la. 


n' 


la, 


n 

la. 


la, 


la. 


:d',t  .1  ,t 
n.r  .d  ,r 


la, 


la. 


la. 


la, 


la. 


d'   .rn'   :8' 


m    .  8 


n 


in 


la,      la,       la,       la, 
8      .8       :8      .8 

d    .d     :d    .d 


in 


la, 


8 


8 


n    :  n 


n 


la,       la,        la, 


di 


m 


n 


I   :in'  .de' 


n 


la,        la,        la,       la. 


la, 


la, 


d' 
m 

la. 


I 


lU 


FOURTH  STEP. 
SLEEP,  BELOVED. 


m 


^p 


re  .  n 


d         :  — 

Dark 
Clouda 

s         :  fe 


r          :  d 

.t, 

f,    .8,  :f, 

.8, 

Birds 
Soft 

t|         :r 

8| 


n 


f_ 
:d 

and 
are 

8:1.8 


—        :d 


a 

f 


—       :si 


8         :  —       :  n 
d         :  m  .  d  :  8|  .  d 


etill  the 

sleep        ...  ing 

m         :  8   .  m  :  d   .  n 


S| 


8| 


:-        :d 


:-  .d:f 


n 


S| 

sleep 

hushed 

m    .  8  :  m 


—       :d 


on 
comes 

:1    . 


d,         :- 


tl 

:li  .  t 

wood 
in 

8 

:  fe .  8 

n 

.  r 

d 

tl 

d 

en 

now; 

als 

round, 

8 

.f 

m 
d, 

ll 


S| 


:  r 
;d  .1| 

-  lands 
the 

:  1   .fe 


—        :  r 


:  d    .  t| :  1|    .  S|    8 


fi    .  8| :  f|    .  S| :  f|    .  8| 


leaf      -      - 
eve 

t|         :  r 


y 

ery 

:f 


:  —        :  8| 


Tbio.  F.  Sxwabd. 


ItuU 

<  m,    .    f| 


d, 


■  •i 


r  :—  :  — 

t  :—  :  — 

lie; 
sky; 

8  :  —  :  — 

S|  :  —  :  — 


—        :-     .f 


8i    .  tl :  d    .  r  :  m     .  r 


bough, 
sound, 

n    .  r  :  m 


f  :8 


d  •  —        •  — 


mea 
with 
toatt 


Bun{ 
the 


byl 


mar 


eipe 


11! 


):i 


:( 


n 

:  re 

.n  :  f 

.n 

8 

tai 

•  — 
• 

1  :f 

:li 

.r 

d 

:t, 

. d  :  r   .re 

n 

• 

• 
• 

:d 

d 

• 
• 

:d 

8| 

• 

:t,  .1| 

:d 

Hushed 

the 

zeph 

. 

er's 

faint 

•           > 

-    est 

sigh. 

Then 

Bliss 

. 

-  ful 

li'tams 

are 

hov 

- 

-     'ring 

nigh, 

Then 

8 

:fe 

• 

.8  : 1 
:d 

.8 

n 
d 

:  de 

:n, 

:  r 

.f 

n 

:  r 

.n  :f   .fe 

8 

d|    v\\ 

• 
• 

:8| 

.d 

:  n 

d 

8| 

• 

:s, 

:8, 

Hi 


n 


sleep 
sleep 


re  .  m  :  f    .8 


—       :d 

be 
be 

I  fe  .  8  :  8 


—       :ri 


n, 


lov 
lov 


-     .8 


-   .tai:l| 

-  ed, 

-  ed. 


f   .  de  :  r    .  de  :  r    .  f 

fi  .  H)  :  ri  .  pi|  :  f| 


Bit   pp 


d 

.li  :  8|  .f|  :  m 

by. 
by. 
m 

.f  :  n  .r  : d 

d,        :- 


10.  F.  SawARa 

•    f|     •'•; 

■  •i 

'l     •  '*l 

.m, 

: 

1 

:-     .f 


.  r  :  n     .  r 


.  f  :  s 


.fi  :  nil 


.r  :  d 


FOURTH  STEP. 


ELEMENTARY  RHYTHMS. 


115 


For  Pupils  preparing  for  tiie  Elementary  and  Junior  School  Certificates. 

These  Rhythms  mnst  be  done  at  the  rate  indicated  by  the  metronome  mark.  The  pupil  mnst  laa  or  taaiai  one  completn 
measure  and  any  portion  of  a  measure  which  is  required,  as  rr\  introduction  to  the  Exercise — the  Exercise  itself  being  taken  up 
without  pause  or  slackening  of  speed,  at  the  right  moment.  The  exercise  must  be  taataid  on  one  tone.  For  amusement,  it  may  be 
taataid  in  tune. 

For  the  Time  Exebcisb  of  the  Elzmentabt  Cebtiticate  (Requirement  2),  any  two  of  these  Rhythms  taken  by  lot  must  be 
Bung  to  {a  on  one  tone  at  the  rate  named,  and  in  perfectly  correct  time.  Two  attempts  allowed.  The  pupil  is  also  allowed  to  taatoi 
the  Exercise  on  one  tone  once  before  he  commences  laa-rng  it- 

For  the  Time  Exebcise  of  the  Juniob  School  Cebtifioate  (Requirement  2),  any  one  of  Nos.  1  to  9  of  these  Rhythms,  token 
by  lot,  must  be  sung  on  one  tone  to  to,  in  perfectly  correct  time.    Two  attempts  allowed. 

The  keys  are  fixed  so  as  to  bring  the  tones  within  the  reach  of  all  voices.  The  Rhythm  may  often  be  learnt  slower  than 
marked,  and  when  familiar  the  pupils  will  take  pleasure  in  largely  increasing  the  speed.  J.  0. 

They  are  to  be  taught  by  pattern.     Three  or  four  may  be  practiced  at  each  lesson  until  the  whole  are  learned.    The  pupil  is 
expected  to  practice  them  at  home  until  they  are  thoroughly  familiar,  so  that  any  one  taken  by  lot  can  be  correctly  done. 


II 


I.      KEY  F.      M.  100. 

S|.d  :d      |S|.d  :d 


TAATAI 


TAA    I  TAATAI 


TAATAI.  Bugle  CaU,  "Fall  in." 

s  .n  :s  .mld.d  :d       |St.d:d       |S|.d  :d       Is  .n  :s  .m  id.d  :d 

TAA  I  TAATAI  TAATAI I  TAATAI    TAA  I  TAATAI    TAA  I  TAATAI  .   TAA  I  TAATAI  TAATAI  |  TAATAI    TAA 


2.  KEY  F.   M.  100. 


:tn 


TAA 


TAA 


Bugk  Call,  "Close. 

:S|  .n 

TAATAI 

d  .d 

TAATAI 

:S|  .m 

TAATAI 

d 

TAA 

:S|   .m  |d  .d 

TAATAI           TAATAI 

:si  .n 

TAATAI 

Id         :—          n 

1      TAA                     -AA 

TAA 


3.    KEY  A.    M.  100.  Bugle  Call,  •'Faiigne.' 

d      :m.S||d      :n.S|  |d.S|  :n.S|  |d  .S|  :m  .S||d      :m.S||d      :m  .S|ld  .S|  :m  .S|  jd 

TAA   TAATAI    TAA   TAATAI  I  TAATAI   TAATAI   TAATAI  TAATAI I   TAA   TAATAI    TAA   TAATAI  I  TAATAI  TAATAI    TAA 


1='^  r 


II 


4.     KEY  t.     M.  100. 

s  .m  :d  .Si  Id.m  :si 


iiu.!'iiB|      |s.n:d.S||d       :  — 

TAATAI     TAATAI      TAATAI       TAA      I  TAATAI     TAATAI  TAA  -A 


Bugle  Call,  "Guard." 

Is  .n  :d  .S|  |d.n  :S|      |s.n:d.S||d      :— 

I  TAATAI  TAATAI  TAATAI    TAA  I  TAATAI  TAATAI    TAA 


5.  KEY  A.   M.  100. 

:S|      Id  .d  :d  .S|  |d.d  :d  .S|  id.si  :d  .S||d  .d  :d      |si 

TAA   I  TAATAI  TAATAI  TAATAI  TAATAI I  TAATAI  TAATAI  TAATAI    TAA  |   TAA 


II 

11 
II 


6.    KEY  A.    M.  144. 

n      :—     Id       :~ 


TAA 


•AA 


TAA 


m.d  :m.d  |S| 

TAATAI     TAATAI  TAA 


:—       m 


AA      I        TAA 


•     Id 

-AA  TAA 


Bugle  Call,  "Advance." 

S|       :—     IS,       :—     I- 

TAA  -AA   I      TAA  -AA 


Bugle  CaU,  "Extend." 

PI  .d  :n.d  |S|       :- 


-AA     I  TAATAI     TAATAI 


TAA 


-AA 


7.      KEY  E.      M.   100  , 

d         :d   .r    :m  .f   |s 

TAA     TAATAI     TAATAI 


1  ^~"       •  A 


TAA 


TAA 


Bayly,  "In  happier  hours." 

:f    .n   :f   .s    in         :d  :d 


TAA 


TAATAI 


TAATAI 


J" 


TAA 


TAA 


TAA 


d         :d   .r    :m  .f   Is 

TAA  TAATAI  TAATAI       |       TAA 


:8 


:1 


TAA 


TAA 


:f    .n   :f   .s 

TAATAI  TAATAI 


n         :— 

XAA  -AA 


116 


(:8| 


8.     KET  G.    M.  100. 

d        :—       :t|        |1|         :t| 

TAA  'AA  TAA  TAA  TAA 


fOUBTH  STEP. 
-AATAL 


IJymn  Tune,  "Wainwrighf 


:d        Ir  .n   :f  .m  :r  .d   |d        :t 

TAA   I  TAATAI   TAATAI    TAATAI     XAA 


:r 


TAA 


:-    .f     :n 

-AATAI  XAA 


1,    ,r    :d 

TAATAI  TAA 


:t, 


TAA 


TAA 


TAA 


SAA 


{I 


9.    KEY  E.    M.  100. 

s       :s  .f  I  n       :- .f  In 


Jlymn  Tuue,  "Simeon. 


TAA   TAATAI    TAA   -AATAI  |   TAA 


:r   Id   :-.d|f   :-.m|l   :-.8|t|   :d   |r   :-.rl 

TAA   -AATAI  |   TAA   -AATAI    TAA    -AATAI  I   TAA     TAA     TAA    -AATAI  j 


TAA 


m   :r.d|f   :n.r  Is   :1   js   r-.sls   :- .1  Is  .f  :n.f  I  n   ;r   |d   :  — 

TAA   TAATAI    TAA   TAATAI  I  TAA      TAA     TAA    -AATAI  I   TAA    -AATAI  TAATAI  TAATAI  1   TAA     TAA      TAA     -AA 


10.     KK7  D.     M.  100. 

m  .f  :r  .mjd       :s 

TAATAI     TAATAI  TAA  TAA 

d       :d       Id       :ti 


TAA 


TAA  TAA 


^1 
TAA 


(The  pupils  to  take  each  part  alternately.) 


m.f  :r  .m  jd       :s 

TAATAI     TAATAI  TAA  TAA 

d      :d       jd       :t, 

TAA  TAA  TAA  TAA 


s  .f  :m.f  |s       :di 

TAATAI     TAATAI  TAA  TAA 

d       :d       |m      :d 

TAA  TAA  TAA  TAA 


J.  B.  Thomas,  "Picnic. 

l.s:f.m|r       :  — 

TAATAI     TAATAI  TAA  -AA    ' 

t|       :d     .|S|      :—    ( 

TAA  TAA  TAA  -AA 


I 


:8  I         :8 

SAA        TAA  SAA         TAA 

r        :  I  rn       : 

TAA        SAA  TAA       SAA 


:s       I  :s 

SAA         TAA  SAA  TAA 

r       :         In: 

TAA     •   SAA  TAA        SAA 


f  .8  :1  .t  |d>  :n 

TAATAI     TAATAI        TAA  TAA 

f       :r       |n  :d 

TAA          TAA            TAA  TAA 


r       :s  |d      :  — 

TAA           TAA  TAA           -AA 

d       :t,  Id      :  — 

TAA           TAA  TAA           -AA 


II 


II.      KEY  C.      M.  72. 

d,d.d,d:d     .d     In    .d     :d 

tatatet'e        taatai  j   taatai  taa 


Tafiitefo. 


Bugle  Qill  "Walk  and  Drive."  Altered 


n,m.n,m:n     .n     Is     .n     :n  |d',d'.d',d' rd'    .d'    \ 

talatele        t.vatai  |    ta,\tai  taa  |    tafatele  taatai       i 


s,s.s,s:s    .n  |d,d.d,d:n  .s    Im  .d    :d 


j|s,s.s,s:s    .n  |( 

(  I    tafatefe    taatai      j    tafatefe    taatai      |  taatai  taa       i     t/va  ta.v      •  taatai  taa 


:a 


n  .d    :d 


n         :n 

TAA  TAA 


II 


s     .n     :n 

taatai  taa 


d',d'.d',d':d' 

tafatefe  t^va 


s,s.s,s:s  |d,d.d, d:n    .s     In    .d     rd 

tafatefe  taa  tafatefe        taatai         |    taatai  taa 


II 

w 


12.    KEY  D.    M.  72. 

d      .d  ,d  :d       .d 

TAAte<"0  TAATAI 


w  •  O      f  ■  t  S 

TAAtef  ..  TaJ 


d      .S| 

TAATAI 

d>     .8 

TAATAI 


TAAtefe. 


:d 


.S| 

TAATAI 


n      .  n  ,n  :  n      .  n 

TAAtefe  TAATAI 


Bugle  Call,  "Hay  up  or  Litter  down." 

n      .d       :n      .d 

TAATAI  TAATAI 


:d'      .8       Id      .d  ,d  :d      .d 

TAATAI  I  TAAtel'e  TAATAI 


d. 


TAA 


SAA 


13.      KEY  r. 


Ibil. 


>\      .8)      I  d  ,8| .  n 

TAATAI  I         tofaTAI 


:d  ,8|  t  n 

tnftiTAi 


:tafr  ■•'AI. 
o  f  8    yS     •  S 

TAAtefe  TAATAI 


•  8|       I  d  ,8|  .  n 

t  I    tofaTAI 


Bugle  Call,  "Defaulters." 

:d  ,8|  .p»      jd 


tafaTAi 


TAA 


'Wain  Wright" 

k|        :r 


AA  SAA 

tie,  "Simeon." 

|r      :-.r 

A.  TAA        -kATU 

Id      :-    I 

A.  TAA  -AA    I 

>HAs,  "Picnic. 

m|r       :—    . 

AI  TAA  -AA    f 

.Is,       :-    ( 

A  TAA  -AA 

Id       :- 

A  TAA  -AA 

Id      :- 

A  TAA  -AA 

rive."  Altered 

l',d':d'    .d'    I 

3l'e  TAATAI  ' 

TAA  TAA  I 

d     rd 

Ll  TAA 

Litter  down." 

rpT      .d 

TAATAI 


SAA 
"Defaulters." 

L  TAA 


14.      EET  G.      M.  100. 


FOUBTH  STBP. 

TAA-efe. 


117 


d       :d.,dj3|      :S|.,S||d       :d.,djd      : 

TAA       TAA-efe  I     TAA      TAA-6fe  |     TAA      TAA-efe  |     TAA       SAA 


15.    KIT  C.    M.  100. 


:s 


TAA 


:s     .,s  I  a'         :s     .,8  :8     .,s    m 

TAA-efe   I    TAA  TAA-efe        TAA-efe   |     taa 


:s 


TAA 


Bugle  Gall,  "Salute  for  tho  Guard. " 

td.d  :m.d  Itn.s  :n.d|8|      :8|.,S||8|      :         | 

I  TAATAI  TAATAI    |  TAATAI  TAATAI  |      TAA       TAA-efe  I      TAA       SAA      B 

Bugle  (M,  "Officers." 

•  8       tfo   tS       t)8  18  5  ~"~  f 

TAA-efe        TAA-efe  |     taa  -aa      ) 


:8     .,8  :8     .,8  I  m 

TAA  TAA-efe  TAA-efe      I        TAA 


:8 


TAA 


TAA 

n 

TAA 


d> 


TAA 


TAA 


:d  .d  :d  .d  Id    :  — 

TAATAI  TAATAI        |       TAA  -AA 

Bugle  Call,  "Orders." 


16.    KEY  F.    M.  100 

:si  .,S||d      :—     |n      :S|.,S||d      :—     |n       :S|.,S||d       :8|.,S||n      :S|.,S||d      :—     |n      ) 

TAA-efe  I       TAA  -AA  TAA    TAA-efe  I      TAA  -AA  TAA      TAA-efe  |      TAA       TAA-efe         TAA      TAA-efe  |      TAA  -AA  TAA     ) 


:si      |d.,Si:n.,S||d.,8|:m.,S||d.,8|:n.,8||d       :m       U       :—     |—     :n.,d( 

TAA    I  TAA-efe  TAA-efe  TAA-efe  TAA-efe|  TAA-efe  TAA-efe      taa         taa    I    taa        -aa  -aa     TAA-efe  | 


S|      :-  .d  jn 

TAA       -AATAI         TAA 


17.  KEY  C.    M.  100.  iTymn  Tme,  "Truro." 

d      :n.,f|s       :-.s|l        :t  |d'      :- .s  Id'      :8  |f.n:r.d|f      :n       |r       : 

TAA       TAA-efe       TAA         -AATAI   |      TAA  TAA  TAA      -AATAI    |      TAA  TAA  TAATAI      TAATAI  I      TAA  TAA  TAA         SAA 

18.  KEY  F.     M.  100.  Hugh  Call,  "General  Salute." 

:si      Id       :d  .,d|d.m  :s  .mid  :d  .,d|d       :S|.,d|pt  :d.,ni|s       :S|.,S||S|      :S|.,S||S| 

TAA     I      TAA      TAA-efe     TAATAI    TAATAI    |      TAA  TAA-Cfe        TAA        TAA-efe  |        TAA  TAA-efo         TAA       TAA-cfe  |      TAA        TAA-efe       TAA 

:S|      Id       :d  .,d|d.n  :8  .mid  :d  .,d|d       :S|.,d|m  :d.,m|8       :8|      Id       :d.,d|d 

TAA     I      TAA        TAA-eff*    TAATAI      TAATAI  |      TAA  TAA-ei'o         TAA        TAA-efe  I      TAA  TAA-efe        TAA  TAA     |      TAA        TAA-efe        TAA 


19.      KY  F.       M.  100. 

s  :-        I 


-AA-efe. 


TAA 


TAA 


-    .,n  :d  .S|  Id 

•AA-efe        TAATAI        I       TAA 


Bugle  Call.  "ARsembly." 

.,S|:d   .S|  Id     .,S|  :d    .S|   jd    .,S|  :d   .8| 


-AA-efe      TAATAI      |  TAA:efe        taatai        TAA-efe       taatai 


:n 


TAA 


20.  BET  F.      M.  100. 

:d     |t|.,d:r      :8 

TAA    I  TAA-efe     TAA         TAA 

21.  KEY  F.       M.   100. 

:d         im    .,1^  :i^ 

TAA         I    TAA-efe  TAA 

:f         In   .,m:n 

TAA  I  TAA-efe  TAA 


TAA 


8      :  —    :  fe 

TAA  -AA        TAA 


-    .,n  :d   .S|  id 

-AA-efe         TAATAI         I      TAA 


-AA 


SAA 


\s      :—    :d.,t||l|     :-.t|:d.r|n     : —    :r 

I      TAA         -AA      TAA-efe  I     TAA  -AATAI    TAATAI  I      TAA  -AA        1 


Ifymn  2'iine,  "Serenity." 

Id      :- 


TAA     I      TAA 

ITymn  Tune,  "Arlington."' 


:r  Id    .,d  :d 

TAA  I    TAA-efe  TAA 


:r 


TAA 


:1 


TAA 


8       ^98    •  8 
TAA-efe  TAA 


:d> 


TAA 


n  .8  :f  :in 

TAATAI  TAA  TAA 

r   .f  :n         :r 

TAATAI  TAA  TAA 


m  :r 

TAA  TAA 

d  :— 

TAA  .AA 


'I 


118 


FOUBTH  8IBP. 


22.    KEY  F.    M.  100. 


11 


Barnett,  "Hark!  sweet  echo.' 


8 

TAA 


-   .m 

-AATAX 


:f   .1 

TAATAI 


8     .,nrd   .d    :d 

TiA>efe       TAATAI  TAA 


TAA 


:-   .8 

-AATAI 


TAATAI 


r     .,t|  :8|  .8| 

TAA-efe       TAATAI 


TAA 


23.    KEY  F.    M.  72. 

m    .ff  :r     .,m  :d   .S| 

TAA-efe      TAA.efe      taatai 


(        TAA  I 


:r 


:8 


TAA 


m    .,f  :r     .,m  :d  .S| 

TAA-efe      TAA-efe      taatai 


TAA 


TAA 


8AA 


BAA 


TAA 


JUazzinghi,  "Tom  Starboard." 

BAA 


m     .,f:8     .,m  :l,s.f,m|r 

TAA-efe       TAA-efe       tafatefe  I    taa 


:t|         Id   .r    :n  .s,f:n  .r 

TAA  I  TAATAI  TAAtefe       TAATAI 


24.      KEY.  F.      M.  72. 

;d      |m.,f:f  .,s|s.,n:n      |f.,n:f  .,r|n 

TAA    I  TAA-efe  TAA-efe  I  TAA-efe      taa  I  TAA-efe  TAA-efe  I    taa 


TAA  BAA 

"Home,  sweet  home." 


:-.d,d|n  .,f:f  .,s{3       :n  .s  If  .,n:f  .r  Id 

•AAtefe  I  TAA-efe  TAA-efe|    taa     taatai  |  TAA-efe  taatai  |    taa 


II 


25.     KEY  C.     M.  fiO. 

s,f.m,f:s     .1 

tofutefe         TAATAI 


s    .m 

TAATAI 


:d' 


TAA 


Ir'      .,d':t,l  .s,f  In 

TAA-efe         tafatefe      |      taa 


J.  E.  Thomas,  "Picnic." 

|s,f.m,f:s     .1 

tafatefe       taatai 


s     .m' 

taatai 


:d> 


TAA 


t     .d>,t:l     .t.Ils 


TAAtefe 


TAAtefe 


TAA 


BAA 


26.    KEY  F.    M.  100. 

:8  .f  I  m  : —  rr.nlf    :—  :n 


|:8.f| 

(  taatai) 


TAA      -AA  TAATAI  TAA     -AA     TAA 


m  :r    :d  |d  :t|  :t|  Id  :-.r:n   |n.r:d 

TAA     TAA     TAA     TAA    TAA  TAA  I  TAA  -AATAI  TAA  TAATAI  TAA   TAA  I  TAA     -AA     -AA    BAA  SAA 


Hymn  Tune,  "Prestwick." 

:t|  Id   : —  :— 


Modulator  Voluntaries  now  inclnde  tmBsition  of  one 
remove.  TLeHe  slioixUl  not  bo  made  too  difficult  by  wide  and 
unexpected  leaps  on  to  tbe  distinguishing  tone;  nor  too  easy  by 
fthviiys  approaching  the  distinguishing  tone  stepwise.  While 
the  effects  of  transition  are  in  process  of  being  learnt  these  ex- 
ercises may  be  sol-fa-eJ,  but  the  teacher  cannot  now  be  content 
with  sol-fa-ing.    Every  exercise  should  also  be  sung  to  la, 

Sight-laa-ing.  The  laa-voluntaries  are  really  sight-sing- 
ing exercises,  if  the  teacher  does  not  get  into  self-repeating 
habits  of  pointing.  See  p.  12.  But,  at  their  best,  they  give  no 
practice  in  reading  time  at  sight.  Therefore  the  absolute  neces- 
sity of  sight-laa-ing  from  new  music  from  the  book  or  the 
black-board. 

Memorizing  in  three  keys.  The  pupils  should  now 
know  from  memory,  not  only  what  is  above  any  one  note  on  the 
modulator  and  what  below  it,  but  what  is  on  its  right  and  what 
on  its  left.  The  one  key  no  longer  stands  alone  on  the  mind's 
modulator.  It  has  an  elder  brother  on  the  right  and  a  younger 
on  the  left,  and  each  of  its  tones  bears  cousinship  to  the  other 
'wo  families,  and  may  be  called  to  enter  them.  Therefore,  at 
all  the  later  lessons  of  this  step,  exercises  should  be  given  in 
committing  to  memory  this  relationship,  p.  77.  The  pupils 
must  learn  to  say  these  relations,  colleotively  and  each  one  for 
himself,  voUhout  tbe  modulator. 

Memory  Patterns.  It  is  difficult  to  indicate  divisions 
of  time  by  the  motions  of  the  pointer  on  the  modulator  with 
sufficient  nicety  to  guide  the  singers  in  following  a  voluntary, 


and  it  is  important  to  exercise  the  memory  of  tune  and  rhythm. 
For  these  reasons  our  teachers  give  long  pa««>rns— extending  to 
two  or  more  sections — including  some  of  the  more  delicate 
rhythms.  These  patterns  are  given  laa-ing  but  pointing  on  the 
modulator.  The  pupils  imitate  them,  wUhoui  the  teacher  s  point 
ing,  first  sol-fa-ing  and  then  laa-ing. 

Memory  Singing.  The  practice  of  singing  whole  pieces 
to  words,  from  memory — in  obedience  to  the  order  "Close 
books:  eyes  on  the  baton — is  a  very  enjoyable  one.  The  sinp;er 
enjoys  the  exercise  of  subordination  to  his  conductor  along  with 
a  sense  of  companionship  in  that  subordination,  and  delights 
in  the  effects  which  are  thus  produced.  This  practice  is  very 
needful  at  the  present  stage  in  order  to  form  a  habit,  in  the 
singer,  of  looking  up  from  his  book.  This  should  now  be  his 
normal  position.  But,  as  from  necessity,  the  learner's  eyes  have 
hitherto  bof ..  much  engaged  with  his  book,  he  will  have  to  make 
a  conscious  effort  to  form  "the  habit  of  looking  up."  Occasional 
"Memory  Singing"  will  make  him  feel  the  use  and  pleasure  of 
this. 

Ear  Exercises  (which  will  now  include  fe  and  ta,  ami 
new  difficulties  of  time),  Diciaiion,  Pointing  and  Writing  from 
Memory,  should  still  be  practiced.  Writing  from  memory  doea 
not  at  all  take  the  place  of  pointing  from  memory.  There  have 
been  pupils  who  could  write  from  memory,  but  could  not  point 
the  same  tunes  on  the  modulator.  It  is  important  to  establish 
in  the  memory  that  pictorial  view  of  key  relationship  which  the 
modulator  gives,  especially  now  that  the  study  of  Transition  is' 
added  to  that  of  the  scale. 


■ 


sweet  echo." 
I    'Si     !8| 

lATAI  TAA 

Q  Starboard." 


rAA 


8AA 


FAA  BAA 

jweet  home." 

,n:f  .r  Id 

efe  TAATAI I      TAA 

AS,  "Picnic." 

i,f:s     .1 

fe  TAATAI 


•Prestwiok." 

-:-|      : 

X    -AA  SAASAA 

f  tune  and  rhythm. 
prns— extendinf;  to 
the  more  delicate 
3ut  pointing  on  the 
the  teacher  8  point 

inging  whole  pieces 
the  order  "Close 
le  one.  The  singer 
inductor  along  with 
ation,  and  delights 
lis  practice  is  very 
77771  a  habit,  in  the 
should  now  be  his 
learner's  eyes  have 
e  will  have  to  make 
jg  up."  Occasionnl 
se  and  pleasure  of 

ide  fe  and  ta,  and 
and  Writing  from 
from  memory  does 
nory.  There  have 
ut  could  not  point 
>ortant  to  establiRh 
tionship  which  the 
ly  of  Transition  i^ 


FOUBTH  STEP. 


11» 


QUESTIONS  FOR  WRITTEN  OR  ORAL  EXAMINATION 

DOCTRINE. 


1.  How  many  tn^ater  it«pa  are  there  ia  the  scale, 
and  butwmin  which  tones  do  they  occur  t 

a.  How  many  smaller  steps  are  there,  and  whore 
do  tbey  occur? 

3.  How  many  little  steps  are  there,  and  where 

are  they  1 

4.  What  is  the  diffi'rence  hetween  a  greater  and 

a  smaller  stop  culled? 

5.  ITnw  many  konimaa  has  a  greater  atept    A 
8II1I1. lor  step?    il  little  stop? 

6.  By  what  other  names  are  intervals  called! 

7.  TVhat  is  the  interval  from  any  tone  to  the 

uexl  in  the  scale  culled? 

8.  What  is  the  Interval   from  any  tone  to  the 

third  tone  from  it  cnllud? 

9.  \\niat  is  a  Second  called  that  is  eoual  to  one 

full  step? 

10.  \Sniat  is  a  Second  called  that  ia  equal  to  a  lit- 

Ue  step  (half-stei>)  ? 

11.  What  kind  of  a  Third  is  eqnal  to  two  steps  t 

IS.  What  kind  of  a  Third  ia  equal  to  one  fuU  step 
and  one  little  slept 


II  Teacher  singins  to  nRiires,  Exercise  ns,  lot 
llio  impil  toll  to  what  figure  the  distin- 
piii(*liinji  tout!  of  the  li  rut  sharp  key  was 
suiig.    The  Miinio  willi  17(i. 

32.  In  the  same  maimer  lot  the  pnpil  name  the 

ilistiiiKiiishin^  tune  of  the  hrut  tiat  key,  in 
Exercisi'8  Iti-J  and  18J. 

33.  Tonrher  sliicinji  to  fljrnres,  "Langdon,"  page 
110.  (uacli  line  li('.>iiMiiiiig  with  1) ;  let  the 
pii|iil  uuiiie  hy  itu  li;;iiro,  first,  the  dlstin- 
Kiii.sliin;;  tone  of  the  di'parling  trnusitiun; 
anil,  soooutl,  that  of  the  rctuniiug  traua- 
iliuu, 

[34.  Pit<:h,  withont  a  tnnlng  fork,  the  keys  B,  B 
Hut.  E.  £  flat,  and  A  flat.  The  pupil  has 
not  HutiHtied  this  requirement,  if,  when  test- 
e<l,  he  is  found  to  he  wrong  so  much  m  ■ 
step. 


13.  What  is  the  Interval  from  /ah  to  te  called? 

14.  "Which  are  the  two  most  marked  characteristic 

tones  of  the  scale  ? 

15.  From  their  mental  efifcts,  what  are  fak  and  to 

called? 

16.  What  is  a  change  of  key  during  the  course  of 

a  tune  culled? 

17.  Which  is  the  sharp  distinguisliing  tone,  and 

what  is  its  mental  effect? 

18.  Which  is  the  flat  distinguishiug  tone,  and 

what  is  its  mental  effect! 

19.  On  which   side  of  the  modulator  is  the  first 

shurt)  key  ?    On  which  side  is  the  first  flat 

key? 

i20.  In  poinjt  to  the  first  sharp  key  what  does  the 
lohoi  the  old  key  become  In  the  new?  What 
does  the  old  lah  become?  What  does  tlie  old 
te  liucome?  (The  teacher  will  supply  addi- 
tional questions.) 

21.  In  doing  to  the  first  flat  key  what  tone  of  the 
old  key  becomes  doh  in  the  new?  What 
tone  becomes  ray  f  (The  teacher  will  sup- 
ply additional  questions.) 


PEACTICE. 

35.  Taatai  from  racmorv  any  one  of  the  Exercises 

11)2,  lyj,  194, 195,  the  hist  pulse  being  named. 

36.  Taatai  any  part  of  "Merrily  sings  the  Lark," 

or  the  liouud,  "King,  ring,  ring,"  page  103. 

37.  IJoat  n  number  of  two-pulse  measures  describ- 

\u'i  llie  inotion.s  of  thu  liutid.  The  same 
wilh  four-])ulso  nieasuro.  The  same  with 
six-pulsu  mea.sure. 

■'18.  Follow  the  examiner's  pointing  in  a  now  vol- 
untary coutaiuiujj  transition,  both  to  the 
first  shai-p  and  l&st  flat  keys,  and  singing 
tola. 

39,  I'oiut  and  sol-fa  on  the  modnlator,  from  mem- 
ory, any  one  of  the  pieces  on  pages  80  to  86, 
chosen  l>y  the  examiner. 


33.  "What  is  that  tone  called  on  which  the  chang» 
ia  made  from  one  key  to  another? 

33.  now  tire  bridge-tones  indicated  in  the  not»- 

tion? 

34.  What  is  the  meaning  of  the  little  notes  placed 

on  tli«  right  or  lul't  of  the  key  signature  lu 
trausitiou  ? 

85.  What  are  the  general  mental  efl'octs  of  transi- 

tion to  the  first  shai-p  key?    To  the  first  fiati 
key? 

86.  Wljat  is  a  Cadence  Transition?    Is  it  written 

in  the  "proper"  or  "improper"  way? 

87.  What  is  a  Passing  Transition  t  IIow  written  ? 

28.  What  is  Extended  Transition?   Uow  written  T 

29.  "What  is  the  name  for  a  silent  qnvtor-pul.so  on 

the  strong   part  of  a  pul.sel    On  llio  weak 
part?    liow  is  it  indicated  in  tlie  notation  ? 

30.  "What  is  the  name  of  a  pulse  divided  into. 

thirds  ?    Uow  indicated  in  the  notation  ? 


40.  Write,  from  memory,  any  other  of  these  pieces- 

chosen  by  the  ex.injiuer. 

41.  Sing  to  la  at  first  .sight,  any  exercise  not  more 

difficult  than  theso  pieces. 

42.  Tell  which  is  fe  and  which  is  ta,  as  directed, 

page  32,  question  31. 

43.  Tell  what  tAio  (/«  or  ta)  is  la.M  directed, 

H*2-  niiftMtinri  ;i*J 


32,  question  3 


page- 


44.  Taatai  any  riiythm  of  two  or  three  four-pulse 

measures,  beloiiiring  to  iliis  stoj),  which  tl>& 
examiner  shall  la  to  you.  See  page  32.  ques- 
tion 33. 

45.  Taatai  in  tune,  any  rhythm  of  two  or  thre» 

four-pulse  measures,  belonging  to  this  stop, 
wliich  the  exauiiuer  sliull  tol/a  to  you. 


INDEX 


,/■      •      -1 


X  »»4 


FAOB 

After  Rtady  we  shall  find.  (Honnd) 16 

All  ilmt  now 36 

All  tojretlicr.   (Round) 53 

Aiit\vvr|>.    L.  M (K3 

Aiirwhure • 84 

Ariiii«toii.    CM 66 

A8ci'ii)tion.    S.  M 70 

nnnifl)i  Sorrow 29 

Uciinliriil  Mouth  of  May 36 

Bouuty  in  the  woodland.  (Round) 31 

Call  John  t)ie  boatman.  (Round) 71 

Clii!<;rriii  I^tbor 19 

ClieerriiliicHH  coincth  of.  (Round) 22 

Clu-ei-t'iilly  work.  (Round) 19 

diiiiio  Apiin 89 

Cliiit|i('rce  dice 82 

CliMstiniiH  Carol 105 

ChriMtiiiiin  Soiij; 48 

Come  liiick,  Sweet  May 80 

Come,  ooiiio  to  the  Hin^fin;;.   (Rouud) 03 

Coiiiu  follow  1110.   (Koiiiitl) 22 

Come  let'H  l»u;;)i.  (Round) 22 

Come,  let  UH  all  bo  .Merry 72 

Come  now.  (Round) 34 

'Come  now.  (Roiind) 71 

Come  now.   (Round) 71 

Come  to  the  Kotmtuin 82 

Come  l.'nto  Mu 26 

Come  Unto  Ale.    No.  2 106 

Come  yo  away.  (Rouud) 2^1 

Jomiu<;  N'Iglit 40 

^rii'Uctf  1  uo  ■•■■•■•>••  ■••••••••■•••••«••  wi 

Cuckoo,  cuckoo.  (Rou^id) 25 

Dnlny.Tlio 37 

Day  lias  gone.     (Rouud) 9 

Deiiuis.    S.  M 70 

Elementary  Rhythms ?. 1 15-1  IB 

Kvan.    CM 53 

Evening  on  the  Luke Ill 

Evening  Prayer 55 

Ever  blooming.  (Rouud) 21 

Every  Day  hath  Toil - 107 

Fnr  out  in  the  Wildwood 36 

Vut  her  of  Mercies 87 

For  Health  and  Strength.    (Round) 52 

Centle  Snring  is  here  again 29 

Ouutly  Lvening  heudetk 83 

Good  Nitflit 112 

■Grwtaud  Qood 9 

n*Pr7«  loppy  ITov '^•w-  (Bound) S2 

Hapuvlluiuu 23 

flarki  how  plaaaant.  (Uound) 35 


PAOB 

Hark !  the  distant  bell.  (Ronnd) 55 

Hear  the  Warbling  Notes 72 

Here  I  go.  (Rouml) 17 

lloney-Iiee's  Song,  The 81 

1Io]>e  On,  and  Hope  Ever 37 

Hofie  will  bauish  Sorrow 110 

How  Sweet  to  be  Struyiug 99 

How  Sweet  to  Hear 50 

1 1  uiTah  I  for  the  Merry  Oreen  Wood 66 

Hurrah  for  the  Sleigh  UeUii! 88 

Hurry  now.  (Rouud) 17 

Tf  happiness.  (Round) 34 

If  the  weather.   (Round) 'i5 

In  the  Vineyard 101 

Join  in  Singing.  (Round) 10 

Kingdom.    7s 50 

Langdon.    CM - 110 

L<>urn  to  sing.  (Round) , 28 

Let  us  endeavor,    (liound) 16 

Let  us  sing.  (Rouud) 18 

Lilienand  Roses : 94 

ijongingH  •.■••>•■.•••■•••. .  •..........••  liv 

LoltbeOlad  May  Morn 44 

Loud  through  the  World  Proclaim 68 

Lovely  Land,  The 84 

Lovely  May 31 

Mai vem.    L.  M.... ............. ........  (SI 

March,  march,  march  away.  (Round)....  il!i 

May  is  here 85 

Men-ily,  merrily  dancing.  (Round) 22 

Merrily,  merrily  sound  the  horn.  (Round)  2:1 

Alerrily  Sings - 103 

Merrily  the  bells.  (Rouud) 31 

Merrily  the  Ciu-k(M> 45 

MeiTy  May.   (Rouud) 60 

Miller,  The 95 

Morning  Ilnnn 49 

Mother,  Chllilhood,  Friends  and  Home...  42 

Munuuring  BrtNtklet 96 

Music  Ever^rhere 43 

My  Mouutam  Home 51 

Never  Say  Pail 48 

No,  no,  uo.  (Round) 71 

Now  beware.  (Rtnind) 95 

Now  the  Evening  Falls , 54 

Now  the  Si'cond  Step  is  coming.  (Round)  14 

Now  the  Wintry  Storms.   93 

Now  we  are  met.   (Roiuidl 22 

Now  we  May  farewell.   (Round) 35 

Nutting  Song 104 

O  Haste.  (Round) 35 

OhI  the  Sporu  of  Childhood 64 


tAOk 

Oh,  Wipe  away  that  Teu 97 

Old  Ulack  Cat,  The 6S 

One,  two,  three.  (Round)... 31 

Onward  Christian  Soldier 86 

Onward  to  the  silent  river.  (Bound) 16 

O  Sweet  to  Me 86 

Out  in  the  Shady  Bowera 98 

Over  the  Suow SG 

Rest,  Weary  Pilgrim 91 

Rise,  Cynthia,  Rise 90 

Roaming  over  Meadows.  (Round) 12 

Rubbius.    L.  M 47 

Sabbath  Evening - 109 

Says  Williaui  to  Julia.   (Round) GO 

Si-otluiid'H  burniu";.  (Round) IG 

Seek  the  tender  Shepherd 93 

See  the  bee.  (Round) S,i 

Serenade S-l 

Sileut  Vale -lO 

Sing  every  One 34 

Singing  Cheerily 98 

Sing  we  now.  (Round) S8 

SkatinjT  Olee i'i 

Sleep  lieloved IM 

Song  of  the  Autunm 41 

Sound  the  straiu  again.  (Round) (iil 

S|teak  Kindly. G'2 

Still  Like  Dew 27 

Sun  Shower 6'2 

Sweet  Evening  Hour 100 

Sweet  Sunnner  Crowns '" 

Sweet  Voice, The 103 

Sweil  the  Authem I'i 

Tell  Me.  Spring 39 

The  bell  doth  toll.  (Round) 54 

To  Portmnouth.   (Round) 80 

To  the  Mountain C7 

Tuning  ExerciHCS 17,  18,  39, 40 

Twilight  is  Stealing (JG 

Up,  up  and  away.  (Round) 66 

Virtue  would  Gloriously 92 

Wake  the  S<ing  of  Jubilee 58 

Warble  for  UH.   (Rouud) 53 

Wayside  W.'ll,  The 42 

What  a  Clatter.  (Round) 12 

What  you've  to  do.   (Round) 34 

While  we  uuict.  (Round) 3« 

VVhosTheret 25 

With  II  J  Rosy  Light 91 

With  tl  e  Spring-time.  (Round) ^; 

Who  sow^s  goinl  sec<L  (Round) 3o 

Work  while  you  work 38 

Tee,orNo 6\ 


t  ^ 


tAoa 

97 

, 65 

, 31 

• 86 

-.  (Bound) 16 

36 

98 

26 

, 91 

, 90 

Round) 12 

47 

,..- 109 

:ound) CO 

id) 16 

1 93 

, 25 

, 53 

, 40 

2J 

, 98 

28 

, « 

, HI 

41 

(Hound) fi:< 

02 

■•■•••■••••••■•a  Uw 

, 27 

63 

100 

0.) 

'*.".'.*.".*'.*.'.'  .*.' .' .' .  108 
, 19 

39 

i) M 

80 

C7 

17,18,39,40 

Wi 

1) «) 

93 

io 58 

52 

42 

12 

I1.U 34 

3» 

25 

91 

ouiid) ^ 

61 


